PS 3515 
.fl575 
S6 
1913 
Copy 1 







5 6"/ 5" 



NO PLAYS EXCHANGED. 




T.^.DENISON &. eOWPA>5Y CHICAGO 



'^^.' 



^^l^^^^^^p^ 






DENISON'S ACTING PLAYS. 

A Partial List of Successful and Popular Plays. Lar^e Cataloi^ue Free. 
Price 13 Cents Each, Postpaid: Unless Different Price is Given. 



DRAMAS. COMEDIES, ENTER- 
TAINMENTS. Etc. 

M. F. 

After the Game, 2 aots, 1^ 

hrs. (25c) 1 9 

All a Mistake, 3 acts, 2 hrs. (25c) 4 4 
All That Glitters Is Not Gold, 

2 acts, 2 hrs 6 3 

Altar of Riches, 4 acts, 2J4 hrs. 

(25c) 5 5 

Americmi Hustler, 4 acts, ZYz 

hrs (25c) 7 4 

Arabian Nights, 3 acts, 2 hrs. . . 4 5 
Bank Cashier, 4 acts, 2 hrs. (25c) 8 4 
Black Heifer, 3 acts, 2 hrs. (25c) 9 3 

Bonnybell, 1 hr (25c).Optnl. 

Brookdale Farm, 4 acts, 2^ hrs. 

(25c) 7 3 

Brother Josiah, 3 acts, 2 h. (25c) 7 4 
Busy Liar, 3 acts, 2\i hrs. (25c) 7 4 

Caste, 3 acts, 2i/4 hrs 5 3 

Corner Drug Store, 1 hr.(25c)17 14 
Cricket on the Hearth, 3 acts, 

1^ hrs. 7 8 

Danger Signal, 2 acts, 2 hrs ... 7 4 
Daughter of the Desert, 4 acts, 

2^ hrs .(25c) 6 4 

Down ill Dixie, 4 acts, 2^^ hrs. 

(25c) 8 4 

East Lynne, 5 acts, 2^ hrs 8 7 

Editor-in-Chief, 1 hr (25c)10 

Elma, IM hrs (25c) Optnl. 

Enchanted Wood, 1^ h.( 35c) Optnl. 

Eulalia, 13^ hrs (25c) Optnl. 

Face at the Window, 3 acts, 2 

hrs (25c) 4 4 

From Sumter to Appomattox, 4 

acts, 2^ hrs. (25c) 6 2 

Fun on the Podunk Limited, 

\y2 hrs (25c) 9 14 

Handy Andy (Irish), 2 acts,! ^ h. 8 2 
Heiress of Hoetown, 3 acts, 2 

hrs ....(25c) 8 4 

High School Freshman, 3 acts, 

2 h (25c) 12 

Home, 3 acts, 2 hrs 4 3 

Honor of a Cowboy, 4 acts, 2^ 

hrs ....(25c)13 4 

Iron Hand, 4 acts, 2 hrs. . (25c) 5 4 
. It's All in the Pay Streak, 3 

acts, 1^ hrs (25c) 4 3 

Jayville Junction, 1^ hrs. (25c) 14 17 
Jedediah Judkins, J. P., 4 acts, 

2V2 hrs ....(25c) 7 5 

Kingdom of Heart's Content, 3 

acts, 2^ hrs... (25c) 6 12 

Light Brigade, 40 min (25c) 10 

Little Buckshot, 3 acts, 2J4 hrs. 

(25c) 7 4 

Lodge of Kye Tyes, 1 hr.(25c)13 
Lonelyville Social Club, 3 acts, 

\V2 hrs (25c) 10 



M. F. 

Louva, the Pauper, 5 acts, 2 h. . 9 4 
Man from Borneo, 3 acts, 2 hrs. 

(25c) ..5 2 

Man from Nevada, 4 acts, 2>4 

hrs. (25c) 9 5 

Mirandy's Minstrels (^5c) Optnl. 

New Woman, 3 acts, 1 hr 3 6 

Not Such a Fool as He Looks, 

3 acts, 2 hrs..... 5 3 

Odds with the Enemy, 4 acts, 

13/^ hrs 7 4 

Old Maid's Club, Wi hrs. (25c) 2 16 
Old School at Hick'ry Holler, 

Wa hrs. (25c)12 9 

Only Daughter, 3 acts, 1 K hrs. 5 2 
On the Little Big Horn, 4 acts, 

2^ hrs (25c) 10 4 

Our Boys, 3 acts, 2 hrs 6 4 

Out in the Streets, 3 acts, 1 hr. 6 4 

Pet of Parson's Ranch, 5 acts, 2 h. 9 2 

School Ma'am, 4 acts, 1^ hrs.. 6 5 

Scrap of Paper, 3 acts, 2 hrs. . 6 6 

Seth Greenback, 4 acts, 1^ hrs. 7 3 

Soldier of Fortune, 5 acts, 2^ h. 8 3 

Solon Shingle, 2 acts, 1^ hrs.. 7 2 

Sweethearts, 2 acts, 35 min.... 2 2 
Ten Nights in a Barroom, 5 

acts, 2 hrs 7 4 

Third Degree, 40 min (25c) 12 

Those Dreadful Twins, 3 acts, 

2 hrs ,....(25c) 6 4 

Ticket-of -Leave Man, 4 acts, 2^ 

hrs 8 3 

Tony, The Convict, 5 acts, 2^ 

hrs (25c) 7 4 

Topp's Twins, 4 acts, 2 h..(25c) 6 4 

Trip to Storyland, 1^ hrs.(25c)17 23 

Uncle Josh, 4 acts, 2^4 hrs. (25c) 8 ' 3 

Under the Laurels, 5 acts, 2 hrs. 6 4 
Under the Spell, 4 acts, 2^ 

hrs ,, . . (25c) 7 3 

Yankee Detective, 3 acts, 2 hrs. 8 3 

FARCES. COMEDIETTAS. Etc. 

April Fools, 30 min 3 

Assessor, The, 10 min 3 2 

Aunt Matilda's Birthday Party, 

35 min 12 

Baby Show at Pineville, 20 min. 19 

Bad Job, 30 min 3 2 

Betsy Baker, 45 min ^....2 2 

Billy's Chorus Girl, 25 min... 2 3 

Billy's Mishap, 20 min 2 3 

Borrowed Luncheon Jt20 min.. 5 

Borrowing Trouble, TO min.... 3 5 

Box and Cox, 35 min 2 1 

Cabman No. 9Z, 40 miri 2 2 

Case Against Casey, 40 min ... 23 
Convention of Papas, 25 min. . . 7 

Country Justice, 15 min 8 

Cow that Kicked Chicago, 20 m. 3 2 



T. S. DENISON 8k COMPANY. 154 W. Randolph St.. Chicago 



A Southern Cinderella 



A COMEDY-DRAMA IN 
THREE ACTS 



BY 

WALTER BEN HARE 

AUTHOR OF 



' * A College Town , " ''A Rustic Romeo , " ' 'Aaron Boggs , Freshman , ' ' 
' ' The Fascinators''^ and ' ' Savage land^ ' 




CHICAGO 

T. S. DENISON & COMPANY 

Publishers 



11 13: 



A SOUTHERN CINDERELLA 

— — P335I5 

CHARACTERS.,/9S75 Sg 

Madame Charteris An Old Aristocrat 

Enid Bellamy A Southern Cinderella 

Miss Rosie Winterberry. .A Famous Settlement Worker 

Miss Johnnie Bell Randolph A Little Coquette 

Katherine Hawke An English Nurse 

Caroline Hawke Her Sister, An Adventuress 

Mammy Judy Johnson A Black, Blue-grass Widow 



Place — A Southern Home. 



Time of Playing — About Two Hours. 



Act I — Living room at Charteris Hall. Enid comes 
home. 

Act H— Same, three days later. The burning of the 
will. 

Act hi — Same, two years later. Cinderella goes to the 
ball. 



copyright, 1913, BY EBEN H. NORRIS. 



0)C!.D 34811 



A SOUTHERN CINDERELLA. 



SYNOPSIS FOR PROGRAM. 

Act I — An old southern mansion. The two Hawkes 
have their daily quarrel. Johnnie Bell makes a call. 
Mamm}^ Judy Johnson, the black, blue-grass widow. ''Dis 
yere bein' a widow woman is powerful lonesome, and no- 
body ever kin tell what a lonesome widow woman is goin' to 
do.'' Amos Peters, '*de cream colored pick ob de unplucked 
colored aristocracy, so light complected that he belongs to 
de fair sex." The settlement worker arrives on a mission 
of mercy. Madame refuses to receive her own grandchild. 
"The pride of seventy years cannot unbend." Love con- 
quers pride and Enid comes home. "Nothing on earth can 
take you from me !" 

Act II — Johnnie Bell and her three lovers. "It cer- 
tainly is hard for a girl to make up her mind." Caroline 
disapproves of negro weddings. The black bride displays 
her wedding Crusoe. "I'd be mortified to de ground if dis 
yere trail got tangled up wif ma feet and disturbs my juris- 
prudence." Mammy's six-bit wedding license. The plot- 
ting of the Hawkes. Madame makes a new will. "If this 
new will should, disappear and Madame should die, every- 
thing would come to us." Mammy deserted at the altar. 
"Ober 'leben dollars spent, and not eben one cream-colored 
kiss !" The passing of Old Miss. Katherine burns the wilL 
"Now the Charteris fortune belongs to me — to me !" 

Act III — Two years later. The night of the inaugural 
ball. Katherine and her Paris creation. "Looks to me like 
it 'ud be more of a creation, if you'd take some ob dat 
tail-fixin' and put it ober your shoulders !" Enid is treated 
like a servant. "It's gone too far; it has all gone too far! 
I will leave this house." Mammy decides to marry Sassa- 
fras Rigger. "Old Amos Peters ain't de onliest man on 
earth, even if he is got a cream-colored complexion." Miss 
Winterberry comes to take Enid to the ball. "What's this ? 
The last will and testament of Clara Charteris." The South- 
ern Cinderella comes into her own. . "The night has passed 
and joy cometh in the morning." 



A SOUTHERN CINDERELLA. 



STORY OF THE PLAY. 



Twenty years before the opening of the play, Madame 
Charteris, an old southern aristocrat, banishes her only 
child from her house because of an unsuited marriage. She 
remains broken-hearted all the years, but blindly held in 
check by the Charteris pride. Her daughter dies in pov- 
erty, leaving her only child, Enid Bellamy, to eke out her 
living in the cotton mills. An old friend of her mother's 
and a settlement worker, Miss Rosie Winterberry, finds 
her fainting from hunger at the loom. She takes her away 
and determines to appeal to Madame Charteris in behalf 
of her grandchild. Madame has become an invalid and is 
completely under the influence of her nurse, an unprinci- 
pled English woman. Madame makes a will leaving her 
entire fortune to the nurse and her sister. Madame refuses 
to allow Enid to come to her house, but the sight of her 
grandchild's suffering softens her heart and the little 
white room is opened for the first time in twenty years, 
and Enid comes home. Mammy Judy Johnson, the old 
black servant, decides to get married, and Miss Winter- 
berry and Enid attend the wedding, much to the disgust 
of Caroline Hawke. Madame determines to make a new 
will in favor of her grandchild and summons Mr. Deems 
to draw up the document. The will is made and the nurse 
and her sister are the witnesses. Katherine Hawke (the 
nurse) secures the new will and determines to burn it. 
Mammy Judy returns from the church in a towering rage, 
having been deserted at the altar by the prospective groom. 
She has the wedding license and by mistake the nurse gets 
this and burns it thinking that it is the new will. Madame 
dies and as the new will cannot be found the nurse and 
her lister are declared the heirs. They vainly try to enter 
society and treat Enid, the real heiress, like a common ser- 
vant. On the night of the inaugural ball, two years after 
the death of Madame, Mammy Judy finds the will and the 
Southern Cinderella comes into her own. 



A SOUTHERN CINDERELLA. 



CHARACTERS AND COSTUMES. 

Madame Charteris — Aged seventy-five. Face pale and 
lined with heavy lines. Dark gray shadows under eyes and 
under cheek bones. Trailing house dress of black silk 
trimmed with old lace. Old lady's cap. Very dignified. 
Use heavy black cane for walking and never forget the 
trembling hands, etc., of old age. After her last appear- 
ance she positively should not be allowed to mingle with 
the audience until after the play. 

Enid — Aged seventeen. A slight, blonde girl with a low, 
sweet voice. Long yellow curls (wig). Act I: Shabby 
black dress, ankle length, cheap black hat, cheap black 
satchel. Act II : Simple white house dress. Act III : First 
costume — The black dress of Act I with a worn gingham 
apron. Second costume — Elaborate white satin dress with 
long train, wreath of white roses in hair and large bouquet 
of white roses. This costume may be relieved with touches 
of pink chiffon. 

RosiE WiNTERBERRY — Aged forty. Hair parted In mid- 
dle and combed over ears. Powdered gray. Nose glasses. 
Simple tailor-made suit of some dark material for Acts I 
and II. Neat bonnet and shopping bag. Act III : Trailing 
ball gown of lavender silk trimmed with purple velvet and 
artificial violets. Hair dressed fashionably. Head-dress of 
lavender plumes. Lorgnette and^ feather fan. Opera cloak. 

Johnnie Bell Randolph — Aged eighteen. A petite 
brunette. Very vivacious. Act I : Dress suitable for sum- 
mer afternoon, pretty hat and parasol. Act II : Similar 
dress of contrasting color ; hat, etc. Act III : Ball costume 
with train ; a shimmering, electric blue over a silver metal- 
lic-like underdress was worn in the original production 
with a cascade of silver fringe falling in a shower at the 
back from the shoulder and a knot of crimson velvet roses 
on right shoulder. Aigrette in hair. 

Katherine Hawke — Aged thirty. Acts I and II : Light 
blue nurse's costume with white linen collar, cap and cuffs. 



6 A SOUTHERN CINDERELLA. 

Act III : .Magnificent ecru gown of silk chiflfon with over- 
dress of ecru lace, heavily spangled. Large bunch of scar- 
let poinsettias on shoulder and on skirt drapery. Ecru lace 
headdress with scarlet aigrette. This costume was worn in 
the original production of the play, but any trailing, elab- 
orate ball gown of pronounced color and outre efifect will 
suffice. 

Caroline Hawke — Aged twenty-five. Act I: After- 
noon calling dress, hat and parasol suited for summer in 
the South. Rather pronounced in effect. Act II : White 
house dress. Act III : A trailing ball gown of green satin 
with an overdress of silvered lace and spangles. Bunch of 
white roses on shoulder and wreath of green velvet oak 
leaves on head vv^th white lace butterfly. Jewels and feather 
fan. Opera cloak. 

Mammy Judy — Aged forty. Black face and hands and 
negro wig. May be very fat. Red calico skirt. Blue calico 
sack. Large gingham apron. White dusting cap coquet- 
tishly trimmed with pink paper muslin. Act II : Wedding 
dress with train. Made of white cambric with overdress 
of white tulle. Train very long. Bridal veil of mosquito- 
bar. White wreath and shower bouquet. White gloves 
Act III : Same as Act I. 



LIST OF PROPERTIES. 

Act I — Two tables, two large old-fashioned chairs, six 
smaller chairs. This furniture should be old-fashioned 
''before-the-war" pieces. Any other pieces of furniture to 
dress stage. Candelabra, screens, etc. Practical fireplace 
with logs, red tissue paper and electric light or lamp con- 
cealed by logs and paper. Basket of fruit for Johnnie. 
Cane for Madame. Satchel for Enid. 

• Act II — Fancy work for Enid. Locket and watch for 
Johnnie. License for Mammy, also bridal wreath and bou- 
quet. Will for Caroline. 

Act III — Sewing for Mammy. Large pasteboard box 
for Miss- Winterberry. 



A SOUTHERN CLMDERELLA. 



STAGE SETTING. 



1 renter 1 
1^^^^ Door 

n O.Chair 


w 

Screen 


-H Window 1 

Chair 
O 


Chair \ 


^°°' " Large 
/ Table 

h ChairO 1 1 O 

//Fire-Place 


Large 
Chair 


Large 
Chair 

o 


Smal 
Table 

O 


Door L 



STAGE DIRECTIONS. 

R. means right of the stage ; C, center ; R. C, right cen- 
ter; L., left; R. D., right door; L. D., left door, etc. ; 1 E., 
first entrance ; U. £., upper entrance ; R. 3 E., right entrance 
upstage, etc. ; D. F., door in flat or scene running across 
the back of the stage ; upstage, away from footlights, down 
stage, near footlights; IC, first groove, etc. The actor is 
supposed to be facing the audience. 



A SOUTHERN CINDERELLA 



Act I. 



Scene : Living room in Madame Charteris'' old south- 
ern mansion. Time, 4 o'clock in the afternoon in October, 
For furniture, etc, see ''Stage Setting!' Entrances C, R. 
and L. Window up L, Fire not lighted in fireplace and 
candles not lighted. 

Enter Caroline, C D,, wearing hat and carrying parasol, 
Caroline (coming down C, and speaking sharply). 
Mammy, Mammy! I wonder where she is keeping herself. 
(Takes off hat.) Asleep, I suppose. The most incompetent 
house servant in town. I can't see why Madame tolerates 
her. Things will be mighty different when / am mistress 
here. The first thing I do will be to import some decent 
English servants. And I'll tear down this house, too. It's 
entirely too old-fashioned. It may be good enough for the 
Charteris tribe, but it won't do for me. (At L. C,) 

Enter Katherine from R. 

Katherine. So you've come at last. (At R. C.) 

Caroline (swinging her hat). Did you want anything? 

Katherine (sarcastically) . Oh, no, indeed. Nothing at 
all. I suppose I can stay in there in that hateful sick room 
all day, while you are strolling over town with your Mr. 
Deems. I wish I had never let you come here. 

Caroline. Oh, indeed! You had to let me come. 
(Crosses to C.) The fact is that I knew too much about 
you, my pretty sister, for you to win this golden prize all 
by yourself. 

Katherine. Madame has asked for you twice. 

Caroline. What did she want? 

Katherine. Just wondered where you were. Pm be- 
coming disgusted with this whole business. Another hour 
in that room and I should have screamed. 

8 



A SOUTHERN CINDERELLA. 9 

Caroline. And ruined us both forever. 

Katherine. You shan't leave all the hard work for me 
to do. YouVe got to take your turn. I suppose you were 
out with that Deems person again. 

Caroline. Well, what if I was? 

Katherine. Oh, nothing. It's your own business, I sup- 
pose. 

Caroline. Yes, it is. And I won't allow Madame or 
you or anyone else to dictate to me. I had enough of that 
when I was in Canada. 

Katherine (coolly). Probably you would prefer to re- 
turn there? 

Caroline. I can't see why you're always objecting to 
Deems. He knows how to treat a girl all right. 

Katherine. An heiress of the Charteris fortune should 
be more careful of her company. 

Caroline. If it hadn't been for him we'd never known 
what was in that will. 

Katherine. Well, we know now, and that's sufficient. 
You certainly ought to find someone better than a middle- 
aged, poverty-stricken lawyer. Why, when she dies you'll 
have over 800 pounds a year. 

Caroline. When I get the money I'll consider the ques- 
tion of getting rid of Mr. Deems. 

Katherine. It's the money he's after. He never paid 
you any attention at all until he made the will two months 
ago. 

Caroline. Did she say anything about him? 

Katherine. Yes, she did. She said that she disap- 
proved of his attentions to you. Don't be foolish and an- 
tagonize her. It can't last very long now. She had an- 
other fainting spell right after luncheon. 

Caroline. Is she awake now? 

Katherine. No. Mammy is with her. 

Caroline. Deems has asked me to attend the concert 
with him tonight. 

Katherine. Impossible. Drop him at once. We know 
what's in the will. He can be of no further use to us. 

Caroline. A girl must have some pleasure. 



10 A SOUTHERN CINDERELLA. 

Katherine. Well, go ahead if you insist on it. But you 
mark my word, Madame disapproves. And if she takes 
the notion she may cut you off all together and leave the 
whole fortune to me. And then you can return into service 
in Canada. Your position here entitles you to mingle with 
the best society in town. 

Caroline. What can I do when they won't mingle with 
me? 

• Katherine. At least you don't need to demean your- 
self with a Deems. 

Caroline. He's Madame's lawyer. 

Katherine. Because he's the only one in town who 
would make a will disinheriting her own grandchild. 

Caroline. It seems to me that you should be extremely 
grateful to him for that. 

Katherine (grandly). Once I get the money in my 
possession I will see that Mr. Deems is amply rewarded, 
for his services. 

Mammy opens door at R. and puts her head in. 

Mammy. Say! (Both look at her.) Madame's done 
waked up. (Entering from R.) She wants you. (Comes 
down R.) 

Katherine (pointedly). Are you addressing Miss Kath- 
erine or Miss Caroline? 

Mammy (sullenly). I'se addressin' you. 

Katherine (at C), Then be good enough to say ''Miss 
Katherine." 

Mammy (calmly). Yas'm, I heerd what you say. (Turns 
and goes up stage.) Madame told me to hab you come to 
her right away. 

Katherine (crosses to door R.). I'll deal with you 
later. 

Mammy (pertly). De later de better. 

Katherine. Impertinent! (Exits R.) 

Mammy (looking after her, speaks after a slight pause). 
Yas'm, you sure is. 

Caroline (coming C. from L.). You may leave the 
room. 



A SOUTHERN CINDERELLA. 11 

Mammy. Fm gwine to leave it. You didn't think dat 
I was a gwine to take it along with me, did you? {Exit L.) 

Caroline. How I hate this place. But things will be 
mighty different, once the money is in my possession. 
(Comes down R. C.) 

Enter Johnnie, C. D., hat on and carrying small basket 
of fruit. 

Johnnie {pausing at door). Good evening, Miss Hawke. 

Caroline {pointedly),. Good afternoon. 

Johnnie {coming dozvn C). How is Madame today? 

Caroline {languidly). I believe one of the servants 
said she had a fainting spell this afternoon. 

Johnnie {sympathetically). Oh! 

Caroline. She's an awful care to me and my sister. 

Johnnie. I brought her over this little basket of fruit. 
Will you be kind enough to give it to her? {Gives basket 
to Caroline.) 

Caroline. The doctor don't allow her to eat fruit, but 
we're much obliged just the same. {Places basket on table 
at R.) 

Johnnie. Could I see Madame? 

Caroline. I'm afraid not. It's against the nurse's or- 
ders. But won't you sit down. My sister will be in pres- 
ently and we can have a cozy little chat. {Sits at R.) Are 
you going to the concert tonight? 

Johnnie. Yes, indeedy. I reckon there'll be a right big 
crowd. {Seated at L.) 

Caroline. I suppose so. There is so little to go to here, 
you know. It's such a bore living in a small American 
town after London. 

Johnnie. I reckon so. Do you expect to return tp Lon- 
don soon? 

Caroline. Oh, dear no. Madame Charteris won't hear 
of my leaving her. And it's my duty to stay. Who are 
you going to the concert with tonight? 

Johnnie {taken aback). Oh, with some of the young 
folks. 



12 A SOUTHERN CINDERELLA. 

Caroline. That Mr. Carter you go with is a right nice 
young man. Tve never met him. 

Johnnie. Indeed? But I fear I am keeping you from 
Madame. (Rises.) I must be going. 

Caroline. Did you get an invitation to Mrs. Gray's tea? 
(Still seated.) 

Johnnie. Yes. Are you going? 

Caroline. I don't think so. I don't care for Mrs. Gray. 
Do you know that she hasn't a cent? And yet she goes in 
fairly good society. Such a thing couldn't happen in Lon- 
don. (Rises.) 

Johnnie. Yes, but this isn't London. 

Caroline. Don't go yet. I don't often get a chance to 
chat with you. Just stay a minute and I'll see if Madame 
needs anything. She worries if I am out of her sight for 
a moment. I'll send sister to you. (Exit R.) 

Johnnie. And the Charteris fortune is to go to these 
persons. Oh, it's a shame — a shame! (Comes down C) 

Enter Mammy from L. 

Mammy. My lawsy lands! If it ain't Miss Johnnie Bell. 
Hope you-all is well, Miss Johnnie. How's your ma? (At 
L. C.) 

Johnnie. Oh, she's very well, thank you. Mammy Judy. 

Mammy. I'se comin' ober dere some ob dese days to see 
you-all. 

Johnnie. How is Madame? 

Mammy. Mightly porely; mighty porely. Dese here 
Hawke women jest raisin' a 'sturbance from mornin' till 
night. I can't see how dey got sich a hold on old Missis — 
I sure can't. Sometimes I tink dey's got her conjured. 
Things like dat kin happen, you know. 

Johnnie. They certainly exert a strange influence here. 

Mammy. Yas'm, dey sure do. Dey ain't got no under- 
standin'. Why, Miss Johnnie Bell, dey treats me like a 
common field nigger. Don't eben want me to go out at 
night. 

Johnnie. Didn't I see you down at the postoffice last 
night ? 



A SOUTHERN CINDERELLA. 13 

Mammy. Yas'm, I reckon you did. 

Johnnie. And with old Uncle Amos Peters? 

Mammy. Yas'm. I went 'long wif dat old fence-lizard 
jest cause he's so persuasive. (Grins.) 

Johnnie. I certainly was surprised to see him escort- 
ing you. Your husband has only been dead two months. 

Mammy. Dat's a fac' sure enough. Tse in ma second 
mournin'. 

Johnnie. And yet you allow Uncle Amos to take you 
down town. 

Mammy. You see, Miss Johnnie Bell, it's jes' dis-away. 
My husband's only been dead two months, dat's de truth. 
But he's jes' as dead as he's ever gwine to be; an' Uncle 
Amos sure is got persuasive manners. 

Johnnie. You certainly don't intend to marry again, do 
you. Mammy? 

Mammy (sighs). It's powerful lonesome business, dis 
here bein' a widow woman — powerful lonesome. Tell you 
what de facts ob de case is, Miss Johnnie Bell, you ner me 
ner nobody else eber kin tell what a lonesome widow 
woman is gwine to do. And Uncle Amos sure is got per- 
suasive manners. 

Johnnie. But you've been married twice already. 

Mammy. Twice? Twice? No, ma'am, you's mistaken 
sure. (Pause.) I'se been married four times. Yas'm. It's 
done got to be second nature wif me now. Miss Johnnie 
Bell. 

Johnnie. But Uncle Amos Peters is so old. 

Mammy (calmly). Yas'm, he is dat. But dat man sure 
is ^got persuasive manners. Jes' last night what ya' reckon 
he did? He bought me two packages ob goober-peas an' 
a ten-cent dish ob chocolate flabored ice cream. Dat man 
might be old, but he sure does know how to soothe de 
f eelin's ob a lonesome widow lady ; he sure do. 

Johnnie. I reckon, then, you'll be a bride before long. 

Mammy. Yas'm. 'Twouldn't surprise me for a minute. 
Dis yere world am full ob trials and tribulations for a lone- 
some widow lady. And den ole Amos got such a nice light 
complexion. My other husbands was all coal black, jes' 



14 A SOUTHERN CINDERELLA. 

like me, 'cept Hank. Hank was ginger brown and mon- 
strous proud ob it. But Amos! Lawsy land, Amos jes' 
naturally belongs to de fair sex. Yas, mam ! He's de pick 
ob de unplucked colored aristocracy in de whole county. 
Dey ain't a sister in de Daughters ob de New Jerusalem — 
dat's my sassiety — dat don't get pale wid jealousy when 
Amos Peters escorts me up de church aisle Sunday 
mornin'. 

Johnnie. Are you going to have a church wedding? 

Mammy. Is I? Is If {Raising her head proudly.) Yes, 
mam, I shore is. I's had 'em four times now, and I's get- 
tin' too old to change ma ways. I'se gwine to buy me one 
ob dese new ''Look-right-through-me," tight-fittin' weddin" 
dresses. And a drapery ob white skeeter bar wif a long 
trail, an' a tinfoil crown trimmed wif orange blossoms. I's 
sure gwine to hab some wedding. Miss Johnnie Bell. Yes, 
mam! 

Johnnie. Has he proposed yet? 

Mammy (sadly). No'm; not yet. But he'd better make 
haste, kase if he don't, I's gwine to do de proposin' my- 
self. I ain't got no time fo' triflin' and I ain't gwine permit 
it. I don't perpose to let no man make a grabeyard out ob 
my heart to bury his perfidiosity in. No, mam! I's gwine 
to make him propose, and den I's gwine gracefully to ac- 
ceptuate his proferration ob nuptiality. 

Johnnie. Well, I certainly wish you all the happiness, 
in the world. Mammy Judy. 

Mammy. Thank you, honey; thank you. Dat was a 
mighty fine lookin' young man dat I seen you wif las' night. 

Johnnie. Do you think so? 

Mammy. Yas'm. I sure does. I always specially ad- 
mires blondes. And he sure was dressed. I ain't seen such 
a splendiferous costoom in dis yere town since (insert local 
name) was here. 

Johnnie. That was Mr. Carter from Raleigh. 

Mammy. Specs den dat I won't be de only bride dis 
season ? 

Johnnie. Not me. I've got three and I can't make up 
my mind which wants me worst. 



A SOUTHERN CINDERELLA. IS 

Mammy. Listen here, Miss Johnnie Bell. You listen to 
de advice ob a lady what's had experience. You take de 
man dat's got de mos' money. Yas, mam ! Dis yere libin' 
on lub and cheese an' kisses is all right to talk about, but 
it takes money to buy fried chicken an' automobiles — and 
dat sure is de truth. Yes, mam! {Door hell rings off C.) 
Company, I reckon. 'Scuse me, please, Miss Johnnie Bell. 
(Exit C.) . ^ 

Johnnie. The man with the most money! (Pause.) 
Well, maybe I will. (Pause and then slozvly.) And then 
maybe I won't. (Hangs her head, bashfully smiling.) Mr. 
Carter sure has got persuasive manners, too. 

Enter Mammy, C D., showing in Rosie. Johnnie down 
R. Rosie comes down L. C. Mammy crosses to door at R. 

Mammy (zvith card). Yas'm, come right in and make 
yourself at home. I'll gib your ticket to Madame. She's 
been feelin' a little more salubrious dis ebenin' so I reckon 
she'll see you. Jes' take a seat. Dis yere other lady waitin' 
to see Madame, too. 

Rosie. Very well. Mammy ; I'll wait here. 

Mammy (going R., muttering). Yas'm. Wonder how 
come dat white lady know dat I's Mammy. Mighty in- 
formal, mighty informal. (Exits R.) 

Rosie. Has Madame been ill long? 

Johnnie. Oh, yes. For about three years. She's over 
seventy, you know. 

Rosie. Your voice is strangely familiar to me. Aren't 
you a Randolph? Of course you are. Why, you must be 
the little baby, Johnnie Bell. 

Johnnie. You know me? 

Rosie (briskly crossing and shaking hands). Know you? 
Know you? Of course I do. Why, child, I knew you when 
you were only two hours old. Probably you've heard your 
mother speak of me. I'm Rosie Winterberry. 

Johnnie. Miss Winterberry? I'm right proud to meet 
you. You are doing such a wonderful work among the 
working women of the Mills. Mother often speaks of her 
old school chum, Rosie Winterberry. 



16 A SOUTHERN CINDERELLA. 

RosiE. And I reckon I just fit her description. (Sits L.) 

Johnnie. She has told of the merry larks you used to 
have. 

RosiE. Yes, I was a regular tom-boy and there wasn't 
a horse in the county I couldn't ride. That was twenty 
years ago. 

Johnnie. Mother said that under the careless, merry 
exterior of Rosie Winterberry beat the heart of the truest, 
staunchest friend a girl ever had. (Sits R.) 

Rosie (touched). Dear, dear child! You're just like 
your mother twenty years ago. The sight of you brings 
back old times when Enid Charteris, your mother and I 
were known as the Three Inseparables. And now only we 
two are left. (Sighs.) 

Johnnie. Poor Mrs. Bellamy! Poor Enid Charteris! 

Rosie. Is her mother as proud and unrelenting as ever? 

Johnnie. More so. As the years go by Madame covers 
an aching heart with a bitter pride. Now she is old and 
ill, but she will allow no mention of her daughter, and the 
little white room upstairs has never been opened since 
Enid Charteris ran away nineteen years ago. 

Enter Katherine from R. She comes down R. 

Katherine (rather superciliously). Madame Charteris 
says she will see you, Miss Winterberry. 

Rosie. Yes, I rather thought she would. 

Katherine. She rarely sees visitors now and the doc- 
tor says she musn't be disturbed. You must be very careful. 

Rosie. You needn't be alarmed, my good woman; I'll 
not disturb her. 

Katherine (annoyed). My name is Miss Hawke, Miss 
Winterberry. 

RosiE. An interesting, though wholly unimportant fact. 

Katherine. I don't understand you, madam. 

RosiE (tartly). It isn't necessary that you should. (To 
Johnnie.) My dear, you must tell your mother to come 
and see me. I'm staying with Mrs. Gray. 

Johnnie. I will. Mother will be delighted. Are you to 
be here long? 



A SOUTHERN CLXDERELLA. 17 

RosiE. Sail for New York next Tuesday. Due in Lon- 
don on the 29th and in Paris on the 12th. 

Johnnie. What an interesting Hfe you must lead. 

RosiE (noticing that Katherine is listening). That 
will be all, my good woman. We can entertain ourselves 
until Madame Charteris comes. (Katherine starts to 
speak, but checks herself and exits R. quietly.) Now, child, 
who is that person? 

Johnnie. She is a trained nurse. 

RosiE. She looks like a woman I saw in an English 
prison three years ago. What is her name? 

Johnnie. Miss Katherine Hawke. 

RosiE. Ah, a bird of prey! 

Johnnie. I believe she is an Englishwoman and Tm 
afraid she's not very popular here in tow^n. Madame met 
her at a sanitarium up north and brought her here. She 
has taken charge of the entire household. 

RosiE. Yes, that's a little habit that most hawks pos- 
sess. 

Johnnie. Madame is completely dominated by her. 

RosiE. I can readily see that. 

Johnnie. It is even whispered in town that she has 
made a will leaving the bulk of her fortune to Miss Hawke 
and her sister. 

RosiE. Oh, so there's a pair of them. 

Johnnie. Yes. The sister has been here since winter. 

RosiE. And is she anything like the nurse? 

Johnnie. Well, she has none of the nurse's good 
qualities. 

RosiE. Oh, she 'has some, then? 

Johnnie. The sister isn't nearly so refined as Miss 
Hawke. 

RosiE. Indeed ! She has my sympathy. 

Johnnie. But I shouldn't gossip, Miss Winterberry. 
You'll probably have an opportunity of judging for your- 
self. 

RosiE. I never saw a rich old invalid in my life who 
wasn't surrounded by just such birds of prey. But surely 



18 A SOUTHERN CINDERELLA. 

Madame Charteris isn't going to leave all her immense 
fortune to these persons? 

Johnnie. They themselves have intimated as much. 

RosiE. Does Madame know that her child is dead? 

Johnnie. Oh, yes. It was all in the papers. And there 
is a grandchild. The papers said that she had disappeared. 

RosiE. Enid Bellamy is dead, but she has left a legacy 
to her mother. A legacy of love. Her only child. 

Johnnie. And she is coming here? Oh, I am so glad. 
Surely Madame cannot resist the appeal of her own flesh 
and blood? 

Rosie. That is why I am here today. To plead with the 
Charteris pride — to beg justice for Enid Bellamy. 

Johnnie (rising). Then I musn't stay and interrupt 
your interview. Oh, I do hope you can persuade Madame 
to allow the girl to return home. 

RosiE. I think I can. It is my duty. 

Johnnie. Miss Rosie Winterberry, you're a regular 
angel — an angel of mercy. 

RosiE. Funny looking angel, in a last year's dress and 
three years' old bonnet. 

Johnnie (coming to her). I do hope you will be sue- 
cessf ul ! 

RosiE (shaking hands). We will hope for the best. 

Johnnie. It's just like a fairy story; and you're the 
fairy godmother. 

Rosie. Tut, tut! Run along now. 

Johnnie (crosses to door). Good-bye, dear, dear Miss 
Winterberry. 

RosiE. Good-bye, child. Come and see me. 

Johnnie. Thank you. Good-bye. (Exits C. D.) 

RosiE (at L.). A dear, sweet child who has never 
known a moment's suffering in all her calm, protected life. 
And other girls just as young and fair must slave their 
youth away at the cruel looms. 

Enter Caroline from R. 

Caroline (at C). Madame will see you. Miss Winter- 
berry. She is coming. 



A SOUTHERN CINDERELLA. 19 

RosiE. Thank you. (Caroline crosses up L.) 

Enter Madame from R., zvalking slowly with the aid of 
a cane and leaning on the arm of Katherine. 

Madame. Rosie! (Katharine leads her to Rosie, 
whom she kisses on forehead). You are very welcome; 
for your dear mother's sake and for your own. 

RosiE. Thank you. 

Madame. Sit down and we'll have a little chat. {To 
Katherine.) I feel much better now, dear. 

Katherine. But are you strong enough, Madame? 

Madame. Quite; thank you, Katherine. (Rosie sits L., 
Katherine leads Madame to easy chair at R. and seats 
her.) That will do, dear. You and Caroline may go. Fll 
send Mammy for you when I need you. 

Katherine. Yes, Madame. (Caroline exits C. D. 
Katherine quietly crosses to C, D., turns and glances at 
Madame and exits C. D.) 

Madame. And now, dear Rosie Winterberry, welcome 
to Charteris. It's been nearly twenty years since I've seen 
either you or your dear mother. You have become quite 
a famous lady, I hear. 

RosiE. I've tried to be of some little use in my sphere, 
Madame. 

Madame. Little? You are a lady of national reputa- 
tion, my dear. Your Uplift Movement is a wonderful 
thing and I've been intensely interested in your work 
among the poor girls of the mills. 

Rosie. That is why I have ventured to intrude, Madame 
Charteris. 

Madame. You want some financial help? Some new 
project? Tell me about it. 

Rosie. No, I'm not begging money. I'm asking justice. 

Madame. Justice? Justice for whom? I'm afraid that I 
don't understand you, Rosie. 

Rosie. Justice for your own flesh and blood — for the 
last of the Charteris line. Madame, I am here to plead 
with you for the life of your own child — 

Madame {imperiously). Enough! I beg of you not to 



20 A SOUTHERN CINDERELLA. 

open old wounds. My child is dead. We will not discuss 
that, please. 

RosiE. But her child still lives. 

Madame. Miss Winterberry, your mother was my dear 
friend and you are my honored guest ; but I must insist on 
no reference to my personal affairs'. 

RosiE. Madame, I beg of you to listen to my story. 
You must have mercy. 

Madame. The Charteris pride calls for something 
higher than mercy; it calls for justice. 

RosiE. Your daughter Enid — 

Madame. Don't ! Don't ! I can't bear it ! Sometimes in 
the darkness of the night I awaken with her name on my 
lips — with her dear image before my eyes. Yet I did what 
was right. My heart broke nineteen years ago ; but I w^as 
a Charteris. I did my duty. 

RosiE. You must do your duty now. Enid's child still 
lives — 

, Madame. I know — I know! But don't you see that you 
are forturing me ? Nineteen years ago my daughter made 
her own decision. She left me. Left her home. Left the 
family name to follow a nameless, penniless adventurer. 
She disgraced the proud Charteris name. She is nothing 
to me now and her child is nothing to me. I have done 
with them forever. It is useless for you to appeal to me. 
Miss Winterberry. My decision was made nineteen years 
ago. I gave my word, and a Charteris never breaks her 
word. 

RosiE. Better break your word than break your heart. 
Your grandchild is destitute, friendless in a merciless city. 
(Madame starts to speak and Rosie interrupts her with a 
gesture.) Listen to me, Madame Charteris. My task is 
not a pleasant one, but please hear my story and then you 
may turn me from your house. Two weeks ago I was in- 
specting a factory at Millburg. It was the same hopeless 
den of misery we all know so well. Only here the condi- 
tions were a little worse. The hands were white girls and 
from seven to thirty years old. (Sadly.) Not many Hve 
to be thirty. They begin work at four o'clock in the morn- 



A SOUTHERN CINDERELLA. 21 

ing, working by candlelight. They finish after nine at 
night. The average pay is seventy-nine cents a day. I 
studied the faces of these slaves of the looms. Every girlish 
hope, every trace of youth and maidenhood had vanished, 
and in their place I saw the grim, hopeless despair of a 
struggle for daily bread. 

Madame. But why are you telling this to me? Surely 
her child was not a slave of the mill? 

RosiE. I passed up and down the aisles, heart-sick at 
the sights I saw. Suddenly I paused attracted by the gol- 
den curls of a little operator. She didn't even dare to 
glance up for fear she would lose a moment's time. I 
lingered a moment, fascinated by her natural girlish grace, 
wondering what strange caprice of fate had forced this 
delicate flower into human slavery. Then I passed on. 
Suddenly I heard a fall and turned. The girl had fainted. 
A common occurrence in the mills. Starvation and toil 
had done their work. 

Madame. Starvation? That girl — she wasn't — ? 

RosiE (softly). Yes, it was Enid's child — the last of the 
Charteris line. 

Madame (burying her face in her hands and sobbing). 
My child, my child! 

RosiE. Your love has conquered your pride. She is 
here. You will let her come back home. 

Madame. I cannot — I cannot. I will supply her wants, 
but I cannot let her come to Charteris. I have given my 
word. 

RosiE. And this is your final answer? 

Madame. I cannot see her. 

RosiE. I pity you, Madame — from the bottom of my 
heart, I pity* you. 

Madame. The pride of seventy years cannot unbend. 

RosiE (rising). Very well. You have spoken. I will 
appeal no more. 

Madame. I will give you money to assist her — 

RosiE. No. You forget that she is- as much a Charteris as 
you are. She is not a beggar seeking alms. She is your 
own grandchild demanding justice. But rest assured that 



22 A SOUTHERN CINDERELLA. 

she shall not drudge her young life away from early morn 
till night as a slave of the loom. (Crossing to C. and 
speaking loudly and rapidly.) You cast her off, Madame 
Charteris ; but she shall not lack a mother's love. She shall 
be my daughter. I, too, loved her mother and she is her 
living image. The same walk, the same hair and eyes, 
the same winning, pensive smile. {Louder,) This girl 
shall come to me. She shall forget her toil and misery 
and heartache. She shall forget that she is a Charteris. 
/ will supply your place! You, her mother's mother, re- 
fuse to save her from the drudgery of the mill. Then I 
will. You have given up all claim to her. Now she is mine. 
{At R. C.) 

Madame {sobbing). You are breaking my heart. 

RosiE. Then let her return. Let your love conquer your 
pride. 

Madame. I — {rises.) 

Enter Katherine from C. D. 

Katherine {hastening to Madame and supporting 
her.) Madame, are you ill? 

Madame {faintly). No, Katherine. {At R.) 

Katherine. Is there anything I can do? Let me fetch 
the doctor! 

Madame. No. I am better now. 

Katherine {looking fie}xely at Rosie). Madame musn't 
be disturbed like this. The doctor's orders — 

Madame. Katherine, this lady is an old friend. You 
may leave us. 

Katherine {at R. C). There is a young woman wait- 
ing on the gallery. She looks like a very common person. 
An agent or something of that sort. I told her that you 
could not see her. {Starts to C. D.) I'll send her away. 
(Rosie at C.) 

Madame {excitedly crossing to Rosie). A young 
woman? She is here?. Enid? My child is here? {Clutches 
Rosie's arm.) 

Katherine. I will dismiss her. 



A SOUTHERN CINDERELLA. 23 

Madame (at R. C). Stop! (Katherine pauses up L. 
C.) Rose Winterberry, is that my child? 

RosiE. Yours no longer. You have cast her off. She 
belongs to me. {Cross to L.) 

Madame. Never. She is mine! My little Enid! I'll go 
to her and ask her pardon — on my knees. Mv child! 

Enid appears in C. D. 

Enid. Miss Winterberry? 

Madame (holding out her arms), Enid! My little 
Enid ! My child ! 

Enid {coming slowly to Madame). You are my grand- 
mother. Do you want me? 

Madame {clasps her in her arms). Want you? IVe hun- 
gered for you all these years. You're mine. Nothing on 
earth can take you from me. My little Enid. {Sobs in her 
arms. Rosie rings handbell on table.) 

Mammy enters from R, 

RosiE. The little white room, Mammy. Open it. Enid 
has come home! 

(RosiE stands at L.^ looking at Mammy. Mammy stands 
at R. with both hands lifted in amazement. Madame and 
Enid at R. C. Katherine baffled and frowning up L. C.) 

Slow Curtain. 



Act it 



Same as Act I. A fezv days later. Time, 7 :30 p. m. Fire 
in fireplace. Candles all ligted. 

Enid seated down L. engaged in fancy work. Enter 
Johnnie, C. D., wearing hat. 

Johnnie. I hope I don't intrude. {Comes down C.) 

Enid {rising and shaking hands). No, indeed. Tm 
mighty glad to see you, Miss Randolph. Won't you take 
off your hat? 

Johnnie. Thank you, no. Miss Winterberry told me to 
wait for her here. 



24 A SOUTHERN CINDERELLA. 

Enid. Sh.e's going to drive us over to the wedding. 

Johnnie. Yes, and I'm so excited! {Sees fancy work,) 
What are you making? 

Enid. A handkerchief for grandmother. I'm afraid Tm 
not succeeding very well. I never had time to learn much 
about sewing. 

Johnnie {seated L. C). You must come over to my 
house. I'll show you the little I know. 

Enid. You are mighty good, Miss Randolph. {Seated 
at L.) 

Johnnie. There you go again with that everlasting 
''Miss Randolph." Please call me Johnnie Bell. All my 
friends do and I certainly want yoti to be one of my 
friends. {Shyly.) That is, if you care to. 

Enid. Indeed I do. I've always wanted a girl friend, and 
you are the very first one I've ever had. 

Johnnie. I've just oceans and oceans of 'em. And boy 
friends, too. O, I don't believe that I ever could exist with- 
out them, 

Enid. The men in the mills were cruel and heartless. 
I never knew any of them. 

Johnnie. And you've never had a sweetheart? 

Enid. Never. Have you? 

Johnnie. Dozens, my dear; dozens. I've got three right 
now. 

Enid. Three ? 

Johnnie. Um-umph {with closed lips, signifying ''yes''). 
And I do have such an awful time making up my mind 
which of the three I like the best. When I'm with Bob I'm 
perfectly sure that he is my first choice. He's got perfectly 
adorable eyes. But as soon as I go riding with Clifford 
in his new six-cylinder, I begin to doubt my affection for 
Bob. And then there's Mr. Carter. I'm pretty near sure 
that I like him the best. He's so strong and commanding. 
And each one is perfectly furious whenever I'm with one of 
the others. I tell you, a girl sure has a hard time when she 
has three strings to her bow. 

Enid {lavighs softly). I should think so. 

Johnnie. Here's Bob's picture. {Shows locket.) Hasn't 



A SOUTHERN CINDERELLA. 25 

he an adorable nose? He's the best looking one of the lot, 
and is not even the least little bit conceited. I think he 
looks like a moving picture hero. 

Enid. He certainly is handsome. He must be the fa- 
vored one. 

Johnnie. \Miat makes you think so? 

Enid. Because you wear his picture. 

Johnnie. Oh, that isn't a sign. Look here. (Shozvs 
watch.) There's Clifford. He isn't as handsome as Bob, 
but he has elegant taste and two automobiles. He's mamma's 
favorite. 

Enid. Is he the one who took you driving last evening? 

Johnnie. No, that was the other one. Xo. 3. That's ]\Ir. 
Carter from Raleigh. I met him when I was in boarding 
school. Eve had my fortune told three times, and every 
time they told me I was going to marrv a blonde. And Mr. 
Carter is a blonde. (Sighs.) Raleigh certainly is an awful 
long way from here. He's mighty serious and thinks that I 
should make up my mind at once. I hate a man w^ho tries 
to boss me. TVe heard that it is mighty warm in Raleigh, 
and I don't know another soul there. 

Enid. Have you his picture, too? 

Johnnie. No, not here. Mamma says I'm a regular 
walking gallery as it is. His picture is too large to w^ear. He 
isn't as good looking as Bob and he isn't as rich as Clift'ord, 
but he sure has got persuasive manners — he sure has. 

Enid. I'm mighty sorry that Raleigh is so far away. 

Johnnie. So am I. But I just hate a man wdio tries to 
boss me. 

Enid. Maybe that's a sign that he's in earnest. 

Johnnie. And he's a blonde. Of course I wouldn't be- 
lieve a fortune teller, but sometimes they make awfully 
good guesses. 

Enid. I hope you're not going away to Raleigh, just 
as we were beginning to be such friends. 

Johnnie. Go to Raleigh. I wouldn't dream of such a 
thing for a minute. 

Enid (slyly). In spite of his persuasive manners? 

Johnnie. Well, I haven't made up my mind yet. Bob 



26 A SOUTHERN CINDERELLA. 

and Clifford are both coming over to Mammy's wedding 
tonight. I want you to meet them. Maybe you can help 
me solve my problem. 

Enid. Oh, I wouldn't know what to say to a man. 

Johnnie. You don't have to say much. If you want to 
be popular with them, let them do most of the talking. I 
know ; I've had experience. Bob saw you with me the other 
night and wanted to meet you. 

Enid. This life seems almost like a dream to me. Only 
a week ago I was working in the mills without a friend in 
the world. And in seven days' time I have a home, a dear 
grandmother. Miss Winterberry and you ! It seems just like 
a fairy tale. 

Johnnie. And you are the heroine. The little forsaken, 
golden-haired princess who, after years of toil and priva- 
tion, has at last come into her kingdo.xi. 

Enid (dreamily). Every one has been so kind to me. 
I believe that almost every girl in town has called. 

Johnnie. Of course they have. The granddaughter of 
Madame Charteris has an enviable place in society. 

Enid. And only a week ago I was fainting from hunger 
at the loom. 

Johnnie. Don't think of that time now. It has all passed 
away like an unpleasant dream. From now on all is to be 
gayety and happiness. Why, you are to make your society 
debut tonight. (Rises and crosses to R.) 

Enid. Tonight? 

Johnnie. Of course. You are to be one of the honored 
spectators* at the wedding of the effervescent Mammy Judy 
Johnson, four times a widow but still the queen bee of col- 
ored society, and the somewhat aged but still light-com- 
plected Uncle Amos Peters, the Apollo Belvidere of the 
most select Afro- American circles. (Lozv how.) 

Enid (laughing). You are so funny, Miss Ran — 

Johnnie. Just plain Johnnie Bell. (Sits at R.) 

Enid. I hope that Mammy Judy will be very happy. 
Mother often told me stories about her old nurse, and 
Mammy seems to think as much of me as she did my 
mother. 



A SOUTHERN CINDERELLA. 27 

Johnnie. She is going to be mighty happy. She'll rule 
poor old Uncle Amos with a rod of cast iron. 

Enter Caroline from R. 

Caroline. Good evening, Miss Johnnie Bell. 

Johnnie (rises and speaks distantly). How do you do. 

Caroline (down R. C, gushingly). Enid, dear, you look 
like a dream. A positive dream. 

Enid. Thank you. Miss Caroline. 

Caroline. Has the dusky bride made her appearance 
yet? I'm just dying to see her. These negroes are so 
comical. 

Johnnie. I haven't seen her. 

Caroline (sarcastically). She must be making a very 
elaborate toilet. 

Enid. Miss Winterberry is going to drive us over to the 
church. 

Caroline (shocked). To the negro church! To mingle 
with, a crowd of darkey servants ! Well, I never ! I didn't 
suppose that it was the custom down south for genteel 
white ladies to attend a negro wedding. 

Johnnie. It isn't the custom. But this wedding is some- 
what different. You see, this is Mammy Judy's wedding. 

Caroline. She is nothing but a common black servant. 

Johnnie. It isn't true. Mammy Judy may have a black 
skin, but she has a heart of pure gold. She'd do anything 
in the world for a Charteris. 

Caroline (superciliously). I don't doubt that, my dear. 
But at home in England no one of any consequence would 
think of attending the wedding of a servant. 

Enid. Mammy is more than a servant, Miss Caroline. 

Caroline. Indeed? 

Johnnie. Yes, indeed. She is — she is — well, I reckon 
she's just Mammy, but I, for one, am proud to attend her 
wedding. 

Caroline. I can't understand it at all. 

Johnnie. No, that's just it; you can't understand it. 

Caroline. Of course I wouldn't try to hinder your 
going. 



28 A SOUTHERN CINDERELLA. 

Johnnie {hotly). No, I reckon you wouldn't. {Cross 
up L.) 

Enid {rising and coming to Caroline). How is grand- 
mother this evening"/ Miss CaroHne? 

Caroline. Just about the same. We can't leave her 
alone. I've been in her room all afternoon and I'm just 
about dead. {At R.) 

Enid. Why don't you go out for a little walk? {At 
R. C.) 

Caroline. No, thank you. I have to relieve my sister 
at eight. I. think I know my duty, and no one can ever 
accuse Caroline Hawke of neglecting her duty. (Johnnie 
seated at L. listening.) 

Enid. If you prefer I'll stay at home and relieve you. 
I know you've had a mighty tiresome day. 

Caroline. .Not at all. If you want to go out and enjoy 
yourself at this negro wedding, pray do so. Your grand- 
mother will not lack the proper care and attention as long 
as my sister and myself are here to minister to her wants. 
{Looking meaningly at Johnnie.) There are people in 
this town who misinterpreted our motives, but Madame 
Charteris knows whom she can depend on. She has learned 
by experience that my sister and myself are absolutely 
trustworthy. 

Enid {gently), I'm sure we all realize that, Miss Caro- 
line. 

RosiE {heard outside C. D.), Don't woVry about me. I'll 
find them. 

Johnnie {joyfully). Here comes Miss Winterberry 
now. {Rises.) 

Caroline (crossing to R.). I think I had better -retire. 
I can't stand Miss Winterberry. 

Johnnie {crosses up C). The feeling is mutual, I assure 
you. 

Caroline. I am sure that she comes here just to annoy 

Madame. 

Enter Rosie, C. D. 

Johnnie {not seeing her). Miss Winterberry is one of 
Madame Charteris' most valued friends. 



A SOUTHERN CINDERELLA. 29 

RosiE. Thank you, my dear. {Comes down C.) Now 
who dares assert that listeners never hear good of them- 
selves? 

Caroline (spitefully). If you will excuse me, I will re- 
turn to my work. 

RosiE. The pleasure is all ours. (At C.) 

Caroline (tossing her head). At any rate, I'm not on 
my way to a nigger w^edding. (At R.) 

RosiE. Probably Mammy Judy didn't ask you. (Joh'NNIE 
comes down L.) 

Caroline (ignoring her). Enid, you needn't worry 
about Madame. She is in safe hands. 

Enid. I am sure she is. Miss Caroline. (At R. C.) 
Tomorrow night I will relieve .you. 

Caroline. It won't be necessary. (Cross to door R.) 
I know my duty and I hope I always do it. (Exit R.) 

RosiE. My dears, I can read that young woman and her 
sister like a book. 

Johnnie. Not very interesting reading, is it. Miss Win- 
terberry ? 

RosiE. Instructive if not interesting. 

Johnnie. I'm afraid you don't admire the Misses 
Hawke. 

RosiE. You're right. I don't. But my carriage is at the 
door waiting for you two and the dusky bride. I promised 
Mammy Judy yesterday that I would drive her to the 
wedding. 

Mammy (o^ stage at L.). You darkies stand out ob 
ma way and don't interrupt de procession. Spread out my 
trail an' gib me room — ^^gib me room. 

Enid. Here comes the bride. 

Johnnie (sings to time of Wedding March from Lohen- 
grin.) Here comes the bride, here comes the bride. See 
how she wobbles from side unto side. 

Enter Mammy from L., head held high. She comes down 
C. and parades to R. and L. near footlights.) 

Johnnie. Hail to the bride, hail to the bride! Hail to 
the dusky bride! 



30 A SOUTHERN CINDERELLA. 

Mammy {poses at C). How does you-all like de defect? 

Johnnie. It's grand; it's sublime. It's a galaxy of per- 
fection. {At L,) 

Mammy. Yas'm. Dat's jest what I th.ink myself. 

Enid. Mammy Judy, it's perfectly lovely. {At R.) 

Mammy {proudly). Jes' listen to dat honey lamb's talk. 
Ain't she jes' like young Miss fo' all de world. Seems like 
I could jes' shut ma eyes and imagine dat I was back yere 
in this very room talkin' to Miss Enid like I used to do 
twenty years ago. {Change tone.) Miss Winterberry, how 
does you like my Robinson Crusoe? 

RosiE. Your what? {At R. C.) 

Mammy. My Crusoe. My white trail and ma orange 
blossoms and all dese yere high-falutin' fixin's. My wed- 
ding Crusoe. 

RosiE. It's very becoming, Mammy. 

Johnnie. You look like the Queen of Sheba. 

Mammy {grins). Honest, does I? I'se been sick in de 
bed all mawnin', but all ebenin' I'se been trailin' 'round 
with a sheet tied to me, so as to get de hang ob dis yere 
trail thing. I'd be mortified to the ground if all dis yere 
trail got tangled up with ma feet when I turns around 
and starts down de aisle. {Walks languidly to L.) Tell 
me, when I walks does I still maintain all ob ma jurispru- 
dence? {Walks to C.) I sure do feel salubrious wid all dis 
yere fixin's. Amos Peters gwine to feel mighty proud 
when he sees de matrimonial bouquet dat he's won. Yes, 
mam, mighty proud ! 

Johnnie. Won't you be frightened, Mammy? 

Mammy. Who — me? Child, dis yere makes my fifth pre- 
meditated plunge into de sea ob matrimony. I certainly am 
obliged to you-all fo' honorin' de occasion wid de omnipo- 
tence of your presence. I certainly am, and I wants you-all 
to know dat I fully depreciates de Deuteronomy ob de oc- 
casion. 

RosiE. The carriage is here, Mammy. Are you ready? 

Mammy. Yas'm. I'se ready. Goin' in 'a carriage, too. 
Ebery colored lady in dat church is sure goin' to turn per- 
fectly pea-green wif jealousy. Dis yere Robinson Crusoe 



A SOUTHERN CINDERELLA. 31 

sure did cost a lot ob money. But dat cream-colored Amos 
is worth it. Yes, mam ! I wanted to look gorgeous tonight, 
kase de bride am always de chief centipede ob attraction. 
And when I gently murmurs ''I will" I want every eye in 
dat church fixed right on me ! Dis yere nuptuality tonight 
is sure goin' to supercede all de colored society events since 
'Mancipation Day. 

Johnnie. Has Uncle Amos got the license? 

Mammy. Uncle Amos! No, mam! Tse got dat license 
maself. Right here it is. (Shows it.) Amos come down 
yere dis mawnin' wantin' me to lend him six bits to pay 
for de license. But I jes' natcher'lly knowed dat if I eber 
gib dat cream-colored coon six bits, Fd neber lay eyes on 
dat magnolia tinted face no mo'. I bought de license maself. 
And Ts gwine to take charge ob it, too. I sure ain't gwine 
to trust it to Amos. He might change his mind and marry 
somebody else — and den where would I be at ? I know dese 
men — yas, mam ! 

RosiE. I think we'd better be starting. 

Mammy. Jes' one li'l thing that Vm afraid ob. Fse afraid 
dat I don't look coy errough. Everybody in dat church goin' 
to know dat I'se been a widow on seberal previous occa- 
sions, but I sure do hope dat I can make a bluflf and look 
coy! (Pose.) How's dat? 

Johnnie. Fine. I couldn't do better myself. Just keep 
your eyes cast modestly down and when you murmur "I 
will," glance up at xAmos with, an innocent, trusting ex- 
pression. A kind of a startled look. 

Mammy. No'm, I ain't gw^ine to be too startled. Dat 
nigger might startle something himself and run out ob de 
church. He's de timidest man dat I eber did marry. 

RosiE (putting on her wraps). Come along. It won't 
do to keep the groom waiting. 

Mammy. Dat's a fact; dat's a fact. Fm all ready. (Sud- 
denly.) Oh, no'm, I ain't. Please mam, can you-all wait 
until I runs an' puts a little powder on ma face? Fs got 
such a high color tonight. Always do hab a high color 
when I get married. 

RosiE. Nonsense. Make haste, Mammy. 



32 A SOUTHERN CINDERELLA. 

MaMmy. After de ceremony is ober we's all gwine to de 
groom's house to figure up de value ob de weddin' presents, 
rd be mighty pleased if you-all come too. 

RosiE. I'm afraid we can't tonight, Mammy. 

Enid. Oh, no. I couldn't leave grandma so long. 

Mammy. Dat's right, honey lamb. You come on back 
yere and take care ob old Missis. I don't like all dese yere 
Hawke people flyin' round here wif all dis informality. I 
sure don't. 

Johnnie. Now for the church, and in an hour you'll be 
Mrs. Amos Peters. 

Mammy. Yes'm, dat sure is de truth. Dis yere gettin' 
married is mighty spontaneous — mighty spontaneous. 
{Exeunt all, CD.) 

Slight pause. Then enter Kath-erine from R. She closes 
door and then comes slowly dozvn C. 

Katherine. They've gone. at last. Trn glad that Judy 
has left the house for good. One less to spy upon my 
actions. I wish she had taken that yellow-haired mill hand 
with her. The heiress of the Charteris fortune! It will all 
go to her. We shall be penniless — penniless. Why couldn't 
she have stayed away a month, longer! Madame is growing 
weaker every day — and she 'realizes it. That is why she 
insisted on seeing the lawyer tonight. And I am 'powerless. 
Even now at this moment he is drawing up a new will 
that will make that mill hand the sole heiress. I know it., 
I could see it in her actions today. {Take plenty of time 
for preceding speech, walking about nervously.) 

Enter Caroline from R. 

Caroline. Kate ! 

Katherine. How you startled me! What are they do- 
ing now? 

Caroline. Madame is dictating to Mr. Deems. He is 
writing some sort of a document. Madame said they 
wanted to be alone. Whatever does it all mean? 

Katherine {fiercely). What does it mean? It means 
that they are making a new will. It means that you and I 
are little better than beggars — when we thought we had 



A SOUTHERN CIXDERELLA. 33 

the whole Charteris fortune in our grasp. It means that 
this entire estate will go to that girl, and that you will 
have to go back into service in Canada. 

Caroline. Oh, Madame can't be going to leave us pen- 
niless. We certainly will get something. 

Katherine. I will get my salary and that will be all. 
It's all over, Carrie. It's all over. 

Caroline. But she made a will last month leaving us 
everything. 

Katherine. That isn't worth the paper it's written on. 
Oh, the base injustice of it. We've worked like slaves for 
months, obedient to her every beck and call. And now 
what will we have to show for it? We've played a game 
and, right when success was in our very grasp, we've lost. 

Caroline. Maybe Mr. Deems can help us. 

Katherine. Deems? A penniless lawyer. What can he 
do? 

Caroline. He has asked me to be his wife. 

Katherine. A pretty pair you'd make. He hasn't a 
cent in the world. {A rap is heard on the door at R.) 
They want you to sign the paper. Go in. Be obedient. 
Sign it. Make yourself a pauper. 

Caroline. What must I do? 

Katherine. Go. See if you can see the contents of the 
paper. {Exit Caroline at R.) No one knows that Deems 
is here tonight. No one knows of this will but us. If I 
could only get possession of that paper. I must learn if 
she has left us entirely penniless. And if she has — {clenches 

Enter Caroline from R. 

Caroline. Mr. Deems wants you to sign it, too. 

Katherine. Could you see w^h.at you were signing? 

Caroline. Not a word. There was a blotter over the 
top part. 

Katherine. I must know wdiat's in that paper. I will 
know. {Exit R.) 

Caroline. Oh, I'm afraid! Katherine will do something- 
desperate. There will be more trouble; I'm sure of it. 
She'll never submit, after all her months of^labor. Surely 



34 A SOUTHERN CINDERELLA. 

Madame has left us something. She wouldn't be so un- 
Enter Katherine from R. 

Katherine. It's all over. We may as well begin to pack 
and get ready to leave this place forever. I hate it. 

Caroline. Did you read it? 

Katherine. I saw Madame's face and that was enough. 
It's all over. 

Caroline. I'll see Deems and make sure. 

Katherine. Do you think he will tell you? 

Caroline. I know he will. 

Katherine {slowly) . Do you think he will let you see 
the will? 

Caroline. I think so. 

Katherine. Oh, if you could only get it. Once let rhe 
get it in my possession. 

Caroline. What good would that do? 

Katherine {slowly and significantly) . If this new will 
should be lost or — destroyed — and Madame should die, the 
old will would then be valid and the Charteris fortune 
would come to us. 

Caroline. Oh, Katherine, you wouldn't — 

Katherine. I don't know what Fd do. You have a won- 
derful influence with this man Deems. Go out there on 
the balcony and wait for him. He'll be leaving Madame in 
a few minutes. Tell him that we are anxious to see the 
will. Tell him that you will bring it to his office tomor- 
row; that we only want it for tonight. {Desperately.) Tell 
him anything. Only get it — get it ! Bring it to me. 

Caroline. Oh, Katherine, I'm afraid ! 
' Katherine. Afraid of what? There can be no danger. 
You have boasted of your influence over this man. Use 
it now. It may be that after all the Charteris fortune will 
go where it rightly belongs — to us. What has that girl 
ever done for Madame Charteris? Has she worked and 
slaved and waited on her hand and foot, night and day, as 
we have? I tell you this money is ours by every right in the 
world. 

Caroline. I think Mr. Deems will let me see it. 



A SOUTHERN CINDERELLA. 35 

Katherine. You must get it for tonight. Tell him you 
will return it tomorrow. I must learn if she has cut us off 
entirely. {Door slams.) There — he is going. We arfe alone 
in the house. This is our only chance. 

Caroline. But if anything would happen to it while we 
had it. 

Katherine. What could happen to it? 

Caroline. I don't know what to do. Please, Kate, don't 
run any risk. 

Katherine. Go to him at once. Leave all the rest to me. 

Caroline. But — 

Katherine {commandingly). At once! 

Caroline. T'll see if I can get it. (Cross to door C.) 

Katherine. Promise him anything, but don't return 
without it. 

Caroline. If anything should happen. (Hesitates, then 
exits C. quickly.) 

Katherine. If this new will should disappear and 
Madame should die — everything would come to us. Every- 
thing. Caroline could marry Deems. (Pause.) He'd jump 
at the chance if she had half of the Charteris fortune. 

Madame (in R.). Caroline! 

Katherine (crosses to R.). Madame? 

Madame (groans). Oh, oh! Caroline! 

Katherine. She'll be here presently. She's bringing some 
ice. (Comes C.) She is growing weaker every moment. 
What can be keeping Caroline? (Crosses to zmndozv.) If she 
should fail— oh, I mustn't think of that ! (Looks.) They're 
on the gallery. She is pleading with him. He hesitates. 
(Pause, then suddenly.) She has it! She has succeeded! 

Enter Caroline, C, zvith zvill. 

Caroline (giving it to Kath'Erine). There. I had to 
promise to bring it to him the first thing in the morning. 
He's holding me responsible for it's safety. 

Katherine (reading zvill rapidly). ''Stocks, bonds and 
all my personal property and real estate and everything I 
possess to my dear granddaughter, Enid Bellamy." (Pause, 



36 A SOUTHERN CINDERELLA. 

then in pectoral voice.) It's all over. We are not men- 
tioned. Oh, the injustice, the rank injustice of it all! 

Mad*ame {faintly). Caroline! 

Katherine. Go to her. She's been calling you. {Exit 
Caroline, R.) Why shouldn't I destroy it? Madame will 
never know. Caroline can manage Deems. {Reads will 
again.) Everything goes to her. I'll do it. Better anything 
than the grinding poverty of the past few years. {Crosses 
to candle.) I'll do it. 

Enter Caroline. 

Caroline. Katherine, quick! She's choking! I believe 
she's dying! 

Katherine {dropping will on table). Dying? 

Caroline. Quick! Go to her. I'll telephone the doctor. 
She's choking. {Exit Katherine and Caroline at R.) 

Enter Mammy^ C. D., wreath and veil awry, license in her 
hand. She has been crying. 

Mammy. Thank goodness dat Ts home at last. Now I 
can hide de mortification and misery in de hollow ob my 
hand. Oh, de supercilious deceitfulness ob dat low-down, 
cream-colored chicken grabber! And me a highly respecta- 
ble widow four times removed. Spent six bits for dis yere 
vveddin' license and ober 'leven dollars for dis yere bridal 
Crusoe ! And dat no-count Amos Peters neber did show 
up at de weddin'. Took de six o'clock train for Memphis 
and made me de laughing stock ob de whole conflagration. 
I'll bet dat if eber I lays hands on dat man his cream-colored 
countenance am sure goin' to need some court plaster. For 
de first time in all de history ob my nuptialities I'se been 
deserted at de altar. Ober 'leven dollars spent, and not 
even one cream-colored kiss ! I reckon I can make dis yere 
dress ober to wear at dancin' school. {Looks at license. ) 
But what can I do with you? {Drops it on table.) I'll bet 
dat I'll never squander another six bits on a marriage^ li- 
cense. {Crosses to door R. and listens) Wonder how old 
Missis is. Things mighty quiet in dere. {Comes C.) I sure 
hope dat none ob dem Hawke women come a pokin' 'round 
me tonight. {Picks np the will.) Come here, old marriage 



A SOUTHERN CINDERELLA. 37 

license. Maybe Ts gwine to need you again sometime. 
Old Amos Peters ain't the onliest man left on dis earth. 
Dat Sassafrass Rigger am mighty likely lookin', mighty 
likely lookin'! (Puts will in pocket.) 

Enter Katherixe much agitated, crosses to table with- 
out seeing AIammy. 

Mammy. Tse come home. (At L.) 

Katherine {starts nervously). What are you doing back 
here? (Whispers.) I thought we had seen the last of you. 
(At L, C.) ^ 

Mammy. No, mam. Tse changed ma mind. I don't want 
to get married. 

Katherine. Not so loud. Go upstairs and take off that 
trumpery. Madame — 

Mammy (much alarmed). Madame?' What's de matter? 
Is old jMissis worse? 

Katherine. She had a horrible attack ten minutes ago. 

Mammy (breathlessly). And now? 

Katherine. The doctor said she passed away quietly 
three minutes ago. 

Mammy. Not dead? (Pause.) Not dead! (Wails.) Oh, 
oh, my old Mistress ! It ain't de truth ; it ain't de truth. 
Lemme go to her. (Cross up C.) 

Katherine (standing in her way). Go upstairs and 
dress. 

Mammy (brushes past her). Out ob my way, white 
woman! Lemme go to ma old mistress. Oh, it's a jedgment 
kas I left her. And now I'se all alone in de world. 
(Wails.) Oh, mistress! mistress! (Exit R.) 

Katherine (grasping Mammy^s license). It's here. There 
is not a moment to be lost. (Tears it once fidl length with- 
out looking at it. Whispers.) No one will ever know; no 
one will ever know! (Crumples it in her hand.) Caroline 
can keep Deems silent. She must ; even if she has to marry 
him. Its the only way. (Crosses to Hre.) The end came 
just in time. (About to drop papfr in Hre when — ) 

Enter Rosie and Enid. Katherine starts and crumples 
paper in hand. Mammy heard moaning off L. 



38 A SOUTHERN CLNDERELLA. 

Enid. Some one is crying in there. Madame — ? 

Katherine (comes to Rosie). You'd better take her 
upstairs. 

Rosie. Madame is worse. (Katherine nods.) Not — the 
— end? 

Katherine (low tone). Yes. 

Enid. Let me go to her at once. (Crosses to R.) 

Rosie. Compose yourself, dear (Exeunt Rosie and 
Enid R.). 

Katherine (closes door. Looks around stealthily.) It's 
the only way. (Crosses to fire and drops Mammy's license 
on fire. It burns.) The only way. (Crouches at fireplace. 
Gives sigh of relief as paper burns. Pectoral voice.) Now 
— the Charteris fortune belongs to me — to me. (Firelight.) 

Curtain. 



Act IIL 



Same as Acts I and II. Tzvo years later. Eight p. m. 
Lights on. Fire in fireplace. 

Mammy discovered seated down L., sewing. 

Mammy. Things have come to a mighty obstrepalous 
position in dis house, dey sure have. Fse jest about come 
to de conclusion dat it's about time for me to get married 
again. It's ober two years now since dat old fence-lizard 
Amos Peters run away to Memphis and left me broken- 
hearted, like a busted Easter lily pining on her stem. Sas- 
safras Rigger been tryin' to make eyes at me eber since. 
Old Amos Peters made me jes' so naturally disgusted with 
men dat I'se nebber had de ingenuity to encourage Sassa- 
fras. But I's gettin' mighty lonesome — mighty lonesome. 
Sass say dat he'll marry me tomorrow, if I'll say de word. 
Maybe I will. I'se gettin mighty tired ob bein' bossed over 
by dese yere Hawkes. It certainly am time for me to va- 
cate de premises. Yes, mam ! Dis colored lady is goin' to 
get her another situation. 

Enter Katherine from R. She is in full ball costume. . 

Katherine (not seeing Mammy and looking back at her 



A SOUTHERN CINDERELLA. 39 

train). The effect is perfectly wonderful. {Comes domn 
C) I think this costume will make the natives sit up and 
take notice. 

Mammy (grunts). Humph! 

Katherine {seeing her). What are you doing- here? 

Mammy. Jes resting; dat's all; jes resting. 

Katherine. How often have I told you not to waste 
your time in here? What's that you're sewing on? 

Mammy. Nuffin', Miss Hawke. Nuffin'. Jes' a little 
piece ob white silk. 

Katherine. Another wedding dress, I suppose? 

Mammy. No'm, it ain't no wedding dress. It's jes' a little 
waist I'm makin' for little Miss. 

Katherine. For Enid? 

Mammy. Yas'm, for Miss Enid. She's little Miss. 

Katherine. I want you to distinctly understand that I 
and my sister are the only mistresses of this house. 

Mammy. Yas'm, I understand dat all right. But Miss 
Enid, she's my little Miss. 

Katherine. I don't think it is necessary for you to 
make her a white silk waist. 

Mammy. Dis is jes' a little present; dat's all. 

Katherine. My sister and myself furnish Enid with 
a competent wardrobe. 

Mammy. Yas'm. A competent wardrobe ob aprons and 
calico. She ain't had a new cloth dress in two years, let 
alone a silk. 

Katherine. A girl in her position doesn't need many 
clothes. 

Mammy. Maybe she's goin' to change her position. 

Katherine {sharply). What do you mean? 

Mammy. Nothin'. I jes' mean maybe she w^on't always 
hab to work for her living. 

Katherine. Probably you would like to see her dressed 
like this. {Pose.) 

Mammy. Yas'm, I sure would. Little Miss certainly 
would set off dat dress. 

Katherine. This gown came from Paris. I don't imag- 
ine that there will be many others like it at the ball tonight. 



40 A SOUTHERN CINDERELLA. 

Mammy. Is you-all goin' to de ball? 

Katherine. Certainly we are. It's the one social event 
of any importance in this dull town. Don't you think that 
this is a wonderful creation? (Turns around to exhibit 
dress.) 

Mammy (unimpressed). Looks to me like it would be 
more ob a creation if you'd take some ob dat tail-fixin' 
and put it ober your shoulders. 

Katherine. You are not used to Paris confections. 

Mammy. No'm. If dat's dem — I ain't. 

Katherine. Have you seen anything of my sister's hus- 
band ? 

Mammy. Yas'm. He's down on de walk waitin' in de 
automobilious car. 

Katherine. It certainly takes Caroline a long time to 
get ready. I don't want to miss a thing. (Crosses to door at 
R.) I'll wait for her in my room. Tell Miss Caroline that 
Miss Katherine is waiting. Exits R.) 

Mammy. Umm! What a long tail our cat has got! Ever 
since old Miss died two years ago dis place jes' naturally 
gone to rack and ruin. Too much ob dese yere Miss 
Hawkes. With their Miss Kather-ine yere and Miss Caro- 
line dere, dey make me jes' plumb crazy in de haid! And 
for all their money, and tails on their dresses and automo- 
billions dey can't nary one ob 'em hold up her head like old 
Miss! No, mam, dey sure can't. And sassiety has drapped 
'em — and drapped 'em hard! Dey certainly's feelin' mighty 
uppity kase dey's invited to dis ball tonight. Humph ! 
Eberbody in town goes to de Inauguration Ball. I reckon 
dat Miss Caro-line's husband, Mr. Deems, must have voted 
de right ticket. He's worried mos' to death kase he has to 
go tonight, but de lady Hawkes is tickled clean to Jeru- 
salem. 

Enter Katherine from R, with opera cloak, which she 
places on table. 

Katherine. Judy, go upstairs to my sister's room and 
tell Enid that I want her immediately. 

Mammy (rising). Yas'm. (Crosses to L., then turns and 



A SOUTHERN CINDERELLA. 41 

comes back to Katherine.) Miss Hawke, I reckon dat I 
better tell you now. Tse goiri' to find another situation. 

Katherine. Going to leave? Isn't this rather sudden? 

Mammy. No'm, not so very sudden. I wants to gib you 
a two weeks notice and leave tomorrow morning. 

Katherine. Very well. You may leave any time you 
see fit. Your work has been rather neglected of late any- 
how. 

Mammy. Tse worked in de Charteris house ober forty 
years. 

Katherine. Enid can easily do the few chores you have 
been doing. 

Mammy. Miss Enid! You-all is workin' dat child to 
death now. 

Katherine. I don't care to hear your opinion. I don't 
pay you to give me advice. 

Mammy. No'm. I was givin' it to you for nothing. 

Katherine. That will do. Tell Enid to come here at 
once. 

Mammy. Yas'm. (Crosses to door at L,, turns, makes a 
funny ''face" at Katherine, whose hack is toward her, and 
exits L.J muttering.) Poor white trash! {Exits L.) 

Katherine {looking at her dress). I think that I'll show 
these villagers tonight what real dressing is. This is the 
first big ball I've been invited to and I want to make a 
good impression. I think that Caroline's marriage to Mr. 
Deems has retarded our social advancement, but it was 
necessary. Poor Deems ! I imagine he often regrets ever 
having seen a Hawke. 

Enter Mammy from L. 

Mammy. Your sister say dat she ain't gwine to let Miss 
Enid come down here until she's through wif her. She says 
she can come den, and not a minute before. 

Katherine. Indeed ! She seems to forget that / am mis- 
tress of this house. 

Mammy. Yas'm. She sure does. 

Katherine. You may go. I'll speak to my sister myself. 
Since she has married that miserable shyster she has be- 



42 A SOUTHERN CINDERELLA. 

come perfectly unbearable. I'll be thankful when they move 
away and leave me in peace. (Exit R.) 

Mammy. Yas'm. Mighty obnoxious^mighty obnoxious! 
Poor little Miss Enid. Dey treats her like common white 
trash 'stead ob like de way old Madame Charteris' grand- 
child ought to be treated. Make a regular black slave out 
ob her, dat's what dey do. Mighty peculiar how come old 
Miss to leave all her belongings to dem Hawkes. Mighty 
peculiar. Not a single cent to her own flesh and blood. 
And de way dey treat Miss Enid is enough to make old Miss 
turn in her grabe. Don't like 'em and I neber did like 'em. 
Mighty obnoxious — mighty obnoxious ! 

Caroline sweeps in from L in a towering rage. She is 
dressed in full ball costume and carries opera cloak. 

Caroline. Oh, I never was so insulted in all my life. 
I'll pack up tomorrow and leave this house bag and bag- 
gage. If Deems were any man at all he wouldn't allow h.er 
to talk to me the way she does ! I have as much, right to 
this house as she has! {To Mammy.) Leave the room! 
Don't stand there grinning at me like a big monkey. Do 
you hear me Leave the room. {Puts cloak on chair.) 

Mammy (crosses up L., stands with hands uplifted). 
Great Day in de Morning! Mighty indelicate — mighty in- 
delicate! (Exit L.) 

Caroline. She seems to think that I am a mere figure- 
head in this house. I have as much right to Enid's services 
as she has! (Down R.) 

Enter Katherine from L. Comes dozvn L. C. 

Katherine (coolly). Well, have you completely recov- 
ered 'from your fit of temper? 

Caroline. If you intend going to this ball tonight, you 
will have to hire a taxicab. There won't be room with me 
and Deems. 

Katherine. Indeed? You seem to forget that it was 
my money that paid for that car. 

Caroline. Your money? Didn't Madame leave as much 
to me as she did to you? 



r 



A SOUTHERN CINDERELLA. 43 

Katherine. We will not discuss that. You know that 
everything you have you owe to me. 

Caroline. I suppose Deems and I didn't do anything? 
Oh, no! Of course not! 

Katherine. Be silent. The very walls have ears. Calm 
yourself. You are nervous and excited. For goodness sake, 
don't make such a scene ! 

Caroline. You are becoming entirely to dictatorial of 
late. 

Katherine. Tomorrow we will go to your husband's 
office and make a final settlement of the entire estate. 
Then you can go your way and Til go mine. But don't 
overlook one thing. I ran all the risk to gain this fortune, 
and the larger share belongs to me. 

Caroline. I think Deems and I will have something to 
say about that. 

Kath'ERIne. Hush ! Someone is coming. 

Enter Enid from L. in well-worn, shabby black dress and 
ginghajn apron. 

Enid (timidly). Mammy said you wanted me, Miss 
Caroline. 

Caroline. Yes. We are going now. You needn't sit up 
for us. 

Katherine. See that a lunch is prepared for four, how- 
ever. 

Enid. I thought that if you had no objection that I 
would slip over and watch the dancers from the gallery. 

Katherine. You go to the Inaugural Ball ! Prepos- 
terous ! 

Caroline. In that dress and gingham apron ! You would 
disgrace the household. 

Enid. Miss Johnnie Bell has asked me to go with her. 
She said she would stop by for me about nine. 

Katherine. It's entirely out of the question. 

Enid. I should like to go so much. Xo one w^ould see 
me. I've never seen an Inaugural Ball and have often heard 
my mother tell of them. Please, please, let me go, Miss 
Katherine. 



44 A SOUTHERN CINDERELLA. 

Caroline. I am mistress of this house. You had better 
go to bed. I was surprised that the committee sent you an 
invitation. 

Enid {more animated). Why shouldn't they send me an 
invitation? My ancestor was the first governor of this 
State. It's true I haven't any money and am forced to work 
for my support, but I am the granddaughter of CornwalUs 
Charteris ! Why shouldn't they send me an invitation ? 

Caroline. My, my ! How high and mighty you talk ! 
Why, you should be thankful to my sister and myself for 
allowing you to stay at this house. 

Enid. Thankful ! I do as much work in this house as I 
ever did in the mills. And what do I get in return? A place 
to sleep and clothes like this ! Oh, it's gone too far — it has 
all gone too far. 

Katherine {coolly). If you don't like the present 
arrangement, the best thing for you to do is to leave. 

Enter Mammy from L. 

Enid. Very well. I will go. 

Mammy {coming down to Enid at C). Yas — and I'll 
go with her. 

• Katherine. You can make your decision at once. Give 
up your position here and go out among strangers. 

Mammy. She don't have to go to no strangers. She's 
my little miss and I'll work hard enough to support her. 

Enid. Miss Winterberry came in town today. She once 
said to me that if I ever needed a friend to come to her. 

Caroline. And this is your gratitude for all we have 
done for you? 

Mammy. Precious little dat you-all ever done. Dis yere 
child's own grandmaw left you every cent dat you possess 
in the world, and now you is tryin' to turn her out ob doors. 
Mighty Scandinavious — mighty Scandinavious ! 

Katherine. Come, Caroline. Enid, we will settle this 
matter tomorrow. 

Caroline. Mammy, my wrap. 

Mammy {aside). I'd like to wrap you! {Helps Caro- 
line on with opera cloak.) 



A SOUTHERN CINDERELLA. 45 

Katherine. Enid. (Motions for Enid to assist her.) 
Are your hands quite clean ? 

Enid. I think they are. (Assists her.) 

Mammy. Dis is de last night we'll ever spend in dis 
house. 

Caroline. Katherine tells me that you are going to be 
married again? 

Mammy. Yas'm. Going to marry Sassafras Rigger. He's 
been after me a long time. 

Katherine. Well, take care that this one doesn't desert 
you at the altar. 

Mammy. I am goin' to take care. Goin' to take care 
dat I don't be a old maid, too. Like some people I know. 

Katherine. You dare! 

Caroline (at door C). Come, Katherine. Would you 
stoop to bandy words w^ith a negro servant? (Exit C. D.) 

Katherine (^oEnid). Don't leave the house. (Exit C.) 

Mammy (crosses up C). I might be a negro servant, 
kase de good Lawd made me one ; but I certainly am thank- 
ful that I ain't a human hawk. I certainly am. (Speaking 
out of door to Caroline.) 

Enid. I knew they wouldn't allow me to go to the ball. 
(Sits L. and cries.) 

Mammy (coming to her). Dere now, honey lamb, don't 
you take on dataway. Don't you take on dataway ! You 
jes' go upstairs and see de pretty little white dress old 
Mammy made you. You dry your eyes and put it on. Den 
Miss Johnnie Bell goin' to come and take you to de ball 
'long with her. 

Enid (crying). They won't allow it. (Rises.) Oh, 
Mammy, I am so unhappy. 

Mammy. Dat ain't no way for a Charteris to talk. Re- 
meber dat if you isn't got no long-tail dress, nor Paris con- 
fections, dat you's got* family. Yas'm, and dat's more'n 
money down South, lemme tell you — yas, mam ! Now you 
go long upstairs and put on dat little dress. 

Enid. You're right, Mammy. It isn't worth crying 
about. Tomorrow we'll leave this place. Miss Winterberry 



46 A SOUTHERN CINDERELLA. 

will get me a position. And then all our troubles will be 
over. (Cross to L.) 

Mammy. You get ready and go 'long over to de ball 
with Miss Johnnie Bell. 

Enid. I believe I will. (Exit L.) 

Mammy. Miss WinterlDerry sure is a powerful nice 
lady. She'll get little Miss a position and den Fll marry 
Sass Rigger tomorrow afternoon. Tse still got my bridal 
Crusoe packed away in a box under my bed. Old Amos 
Peters ain't do only man on earth, even he is got a cream- 
colored complexion. Sass Rigger is right likely looking. 
And he's -got a stiddy job dat brings six dollars and six 
bits every week. Won't have to pay out no six bits to git 
him no marriage license. He can afford to git one his own 
self. (Suddenly.) Maybe I won't hab to git a new one. 
Dat one I got two years ago neber has been used. Humph ! 
Dat's a good way to save six bits. 

Enid (outside L., tearfully). Mammy, Mammy! My lit- 
tle dress ! 

Mammy (crosses to door L.). What's matter, honey 
lamb? What's matter? 

Enid (outside L.). They've taken my little white dress 
away. They've locked it up. Oh, Mammy, now I can't go 
to the ball! 

Mammy. Taken your little dress away! Who took it? 

Enid (outside L.). Miss Katherine. 

Mammy. Dat old human hippopotamus! I never did like 
her, and I don't like her now. Stealing my little Miss' dress 
dat I made her. Mighty unbiased — mighty unbiased ! Neber 
you mind, little Miss — neber you mind. (Exit L.) 

Rap at C. D. Pause. Then enter Rosie, follozved by 
JOHiNNiE Bell. Rosie carries large pasteboard box. 

RosiE (coming dozvn L. C). There doesn't seem to be 
anyone here. 

Johnnie (coming dozvn R. C). Maybe they've all gone 
to the ball. 

Rosie. Oh, I hope not. I want Enid to wear the dress 
I've brought her. 



A SOUTHERN CINDERELLA. 47 

Johnnie. You certainly are her fairy godmother. She 
is treated like a servant in this house and never has a new 
dress from one year's end to another. It's just perfectly 
dreadful. 

RosiE. It seems to me that these women show a decided 
lack of respect to Madame Charteris when they treat Enid 
this way. 

Johnnie. They never allow her to go out, and even tried 
to forbid my coming to see her. 

RosiE. She must come away with me. For the sake of 
her mother, who was my dearest friend, I will give her 
a home. 

Johnnie (rings bell). I wonder where Mammy is? 

RosiE. My constant travel becomes very monotonous 
alone. Enid Bellamy is the very companion I need. It will 
be a pleasure for me. 

Enter Mammy from L, with will. 

Mammy. My lands ob gracious! If it ain't Miss Winter- 
berry and i\Iiss Johnnie Bell. I certainly am conglamerated 
to see you all. 

Johnnie. Has Enid gone to the ball? 

Mammy. No'm. She's upstairs crying like her little 
heart about to bust. I made her a little white silk dress 
to wear when she went with you-all, but dat old hippopota- 
mus done hid it away and locked it up. 

Rosie. Then my little present will come in quite handy. 

Mammy. Is you got a little present for Aliss Enid? 

Rosie. Yes. A dress for her to wear tonight. She shall 
go to the ball in spite of Miss Katherine Hawke ! I'll intro- 
duce her into society myself. Tomorrow she'll leave this 
place as my adopted daughter. 

Mammy. De Lawd be praised. Go up stairs now. Miss 
Winterberry. Tell her de news; tell her de news. 

Rosie. I'll do it. I'll dress her myself. She'll be the 
belle of the ball. (Croses to L. and exits.) 

Mammy. Mighty salubrious — mighty salubrious ! Dat 
Miss Winterberry sure is a angel right down from de gol- 
den skies ; she sure is. 



48 A SOUTHERN CINDERELLA. 

Johnnie. Won't you be mighty lonesome without Enid, 
Mammy ? 

Mammy. Yas'm, I .sure will. Mighty lonesome. Fse 
goin' to leave dis place myself. Dese two Hawkes has got 
so obstrepalous dat a born angel couldn't lib in de same 
house with 'em. I'm goin' to get married. 

Johnnie. Again? 

Mammy. Yas'm. Some folks would think dat after my 
injudicious experience wif old Amos Peters dat I'd be a 
single lady for Hfe. But I ain't goin' to do it. No, mam. 
I'm goin' to show old Amos Peters dat there's more lob- 
sters in de sea dan ever was kotched. Yes'm ; I sure am. 

Johnnie. I certainly wish you good luck. 

Mammy. Miss Winterberry just came back to town in 
time to witness my approaching nuptialities. And there 
ain't goin' to be no hitch about dis yere weddin', cause 
Sassafras Riger is clean crazy in de haid about me. He 
sure is. Can't you come to de weddin'? 

Johnnie. I don't know. What time is it to be? 

Mammy. I don't know. I'se jes' decided to get married. 
I ain't told de bridegroom a word about it yet. What time 
could you-all come? 

Johnnie. Why not have your wedding at high noon. 

Mammy. Dat's a mighty good idea. I'll see Sass in de 
mornin' and inform him ob de happiness dat's goin' to be 
his'n at high noon. 

Johnnie. Are you sure he is willing? 

Mammy. Willing? Why, Miss Johnnie Bell, dat man 
Sassafras Rigger has done proposed so much to me dat 
I'm jes' 'bliged to accept him in self-defense. 

Johnnie. Then I'll be mighty glad to come to the w^ed- 
ding. I was there before, you know. 

Mammy. Yas'm. I certainly do remember dat night. 
Seem like all my misery came on dot one suspicious occa- 
sion. Dat was de night old Miss died. Things has changed 
mightly 'round yere, lemme tell you. Dese yere Hawkes 
has got all de Charteris money and all de Charteris prop- 
erty, but dey ain't nary a one ob 'em got de Charteris blood. 
No, mam ! Treat little Miss like she was poor white trash ! 



1 



A SOUTHERN CINDERELLA. 49 

Make her cook and sweep and wait on 'em like she was a 
black slave. And she old Miss' own grandchild! Looks 
like dey ought to hab more respect for old Miss when she 
lef dem all de money. Mighty perpendicular — mighty per- 
pendicular ! 

Johnnie. Madame's will was certainly a surprise. Most 
everyone thought that everything would be left to Enid. 

Mammy. Old Miss made her will long before she seen 
Miss Enid. And now her own grandchild ain't got a cent. 

Johnnie. It certainly is a shame to see the Charteris 
property in the hands of such persons. 

Mammy. Yas'm. I'm mighty glad Miss Enid is goin' 
away. I know she'll come to my wedding. 

Johnnie. Will you have to buy the marriage license 
again, Mammy? 

Mammy. No'm. I'se got dat same old license. Here it 
is. Reckon dat it will be good after two years? 

Johnnie. I'm afraid not. It's made out in the name of 
Uncle Amos, isn't it? 

Mammy. I dunno. I can't read what it says. All de kind 
ob writin' dat I can read is printed writing. I neber could 
read dis yere written writin'. 

Johnnie. Let me see. (Takes will). ''Last will and tes- 
tament of Clara Charteris." What's this? (Opens will and 
reads.) ''Being of sound mind'" — (pause as she reads to 
herself.) Why, Mammy, where did you get this paper? 

Mammy. Got it at de county clerk's office. Dat's my 
wedding license. 

Johnnie (excitedly). This is the will. Madame made 
it the night before she died. And you've had it all these 
years ! Run, run ! Go and tell Enid and Miss Winterberry 
to come here at once. The will is found. 

Mammy. Good Day in de Mawnin' ! (Runs to L.) Miss 
Enid! Miss Enid! Come "yere quick! We'se found de will; 
we's found de will! (Exits L.) 

Johnnie (examining will). Drawn up by Deems and 
signed by Katherine Hawke and Caroline Hawke. They 
have known of this will all the time. And yet they have 
dared to treat Enid like a common servant when they 



50 A SOUTHERN CINDERELLA. 

knew that she was the rightful heh*ess of the entire Char- 
teris fortune. 

Enter Rosie from L., followed by Mammy. 

RosiE. What's this? Mammy says you have found the 
will. 

JoH'NNiE {handing it to her). See; everything is left to 
Enid. 

Rosie. And it was made the night Madame died. 

Johnnie. Drawn up by Mr. Deems. 

RosiE. And signed by those two women. This will mean 
the penitentiary. 

Mammy {down L.). De penitentiary! My lawsy massy! 
A scandal right in de Charteris house. Mighty commodi- 
ous — mighty commodious ! 

RosiE. Where did you get this paper, Mammy? 

Mammy. De night dat old Miss died I come a runnin' 
in yere wif ma marriage license. I drapped it on de table. 
Miss Kather-ine Hawke was standing right ober dere. I 
run out fo' a minute and when I come back to get ma li- 
cense, dat was what I found. 

Johnnie {excitedly). Don't you see? Miss Hawke tried 
to destroy the will but in her haste she got hold of Mammy's 
license and evidently destroyed that. 

Mammy. And does all dis yere property come to Miss 
Enid now? 

Rosie. Everything. She is Madame's sole heiress. 

Mammy. And don't dem old Hawkes get nothin'? 

RosiE. They'll probably get a sentence to jail. 

Johnnie. Where is Enid? Has she heard the good 
news ? 

Rosie {looks L.). She's here. 

Enter Enid from L. in full hall costume. She comes 
down L. C 

. Mammy. My lawsy massy! Jes' look at ma little Miss. 
Mighty splendacious — mighty splendacious ! 

Enid. The new will. It is found? 

Rosie {gives it to her). It is yours, my dear. You've 
come into your own at last. 



A SOUTHERN CINDERELLA. 51 

Enid {reads). Dear, dear grandmother. 

T ?"^^^-T.^,T ^^ ^^'^ ^° to the ball. Are you ready 
Johnnie Bell? ^ 

JoHXNiE. Quite ready. Hasn't this been exciting? I 
I want to see Miss Hawke's face when she learns the truth 

i-NiD. I don't feel as though I care to go to the ball. 

KosiE. Oh, you must. This is the beginning of your 
new life. ■' 

Mammy. I'm goin' out in de kitchen and cook me some- 
thing to eat. All dis yere excitement makes me mighty ao- 
petizing— mighty appetizing! {Cross to R. Auto horn heard 
off R.) 

Johnnie {at C. D.). The car is here. Are you ready? 
KosiE {crosses to Johnnie). Come Enid 
Enid {going up to C). It all seems like a dream 
Johnnie. Thank my stars it has come out all right 
RosiE {her arm around Enid). Thank Him who made 

the stars, rather. The night has passed and joy cometh 

in the morning. {Soft music.) 

Curtain. 



OCT 23 19tB 

A Rustic Romeo 

By WALTER BEN HARE. 

Price, 25 Cents 

A musical comedy in 2 acts, 10 males, 12 females. Only 5 
m. and 4 f. have lines. The rest are in the chorus. It can be 
played by 5 m., 4 f., eliminating the chorus. It will prove equally 
successful when produced without music. Time, 2^^ hours. Scenes: 
1 exterior, 1 interior. Characters: John Jabe Doolittle, the would- 
be heart smasher of Chowderville. Hink Spinny, who peddles 
tinware, woodenware and hardware everywhere. Sid Roberts, who 
longs for the "Great White Way." Azariah Figg, storekeeper. 
Grandpaw Blue, the oldest inhabitant. Evalina Tupper, the vil- 
lage belle. Miss Dee, a lovelorn critter. Mrs. Spriggs, looking 
for the third. Honeysuckle Spriggs, her little sunbeam. The 
Chowderville fire brigade and its charming society leaders, con- 
stitute the chorus. Contains ten exceptionally clever songs, hu- 
morous and sentimental. "I Want a Big- Town Girl" is set to 
original music. The remainder are sung to familiar college airs. 
"Pretty Girls," "I'm Falling in Love Again," "Moonlight Sere- 
nade," "John Jabe's Wedding," "Over the Banister," "The Chow- 
der Fire Brigade," "Gay Manhattan," "Love's Waltz" and "On 
the Fourth of July." A most interesting plot wound about the 
events of a small town, which keeps one's interest keen until 
Figg finally locates his $70.00 and John Jabe gets a wife. This 
play is a decided novelty. Directions are given with the songs, 
explaining in detail how the chorus may be drilled to march, form 
figures, pictures, etc., which are very effective, yet in the range 
of amateurs. A clever stage director should make this show eqiupJ 
most metropolitan successes. Especially recommended for col- 
lege productions. Professional stage rights reserved and a royalty 
of five dollars required for amateur performance. 

SYNOPSIS. 

Act I. — Chowderville on a busy day. Honeysuckle and St. 
Cecelia astonish the rubes. The boy whose father was bad. "Do 
I look like a tall-grass sister?" Miss Dee, a lone, lorn critter, tells 
of the awfulness of the world. The village belle and the Rustic 
Romeo. "Girls, girls, girls!' A matrimonial advertisement from 
a clinging little blonde named Golden-haired Flossie. Hink Spin- 
ney tries to propose to Evalina. "If I only had $70!" Mrs. Spriggs 
astonishes the natives. "I'll make you think a Kansas tornado has 
struck your town." A moonlight serenade. The robbery. "Who 
stole my $70?" - 

Act II. — John Jabe's hotel on the Fourth of July. A country 
wedding. Honeysuckle and the four rubes. "Skidoo is New York 
talk for scat." The Fairfield Road folks come to the wedding. 
Miss Dee's wedding present, a bottle of Miggins' Stomach Balm, 
good "fer every ailment in the human cistern." An unwilling 
bridegroom. Figg catches the thief — almost. The Chowder fire 
brigade. A suspicious bride with a temper. Deserted on her 
wedding morn. "We'll be as happy as two little twin cubebs." A 
double wedding and divided wedding presents. Figg recovers his 
$70. Patriotic finale: On the Fourth of July. 

"We played *A Rustic Romeo* a few nights ago to a packed 
house. A dandy play for amateurs." — Tom Conley, Luling, Texas. 



T. S. DENISON & COMPANY, Publishers 

154 W. Randolph Street, CHICAGO 



DENISON'S ACTING PLAYS. 

Price Id Cents Each, Postpaid, Unless Different Price Is Given. 



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Documentary Evidence, 25 min. 1 1 

Dude in a Cyclone, 20 min.... 4 2 

Family Strike, 20 min 3 3 

First-Class Hotel, 20 min 4 

For Love and Honor, 20 min.. 2 1 

Fudge and a Burglar, 15 min.. 5 
Fun in a Photograph Gallery, 

30 min 6 10 

Great Doughnut Corporation, 

30 min 3 5 

Great Medical Dispensary, 30 m. 6 
<^reat Pumpkin Case, 30 min. ..12 

Hans Von Smash, 30 min 4 3 

Happy Pair, 25 min.... 1 1 

I'm Not Mesilf at All, 25 min. 3 2 
Initiating a Granger, 25 min. . 8 

Irish Linen Peddler, 40 min... 3 3 

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Kansas Immigrants, 20 min.... 5 1 

Men Not Wanted, 30 min.» 8 

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Mother Goose's Goslings, 30 m, 7 9 

Mrs. Carver's Fancy Ball, 40 m. 4 3 
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min 3 2 

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My Neighbor's Wife, 45 min^. .33 

My Turn Next, 45 min 4 3 

My Wife's Relations, 1 hr 4 6 

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Only Cold Tea, 20 min 3 3 

Outwitting the Colonel, 25 min. 3 2 

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Too Much of a Good Thing, 45 

min 3 6 

Treasure from Egypt, 45 min. 4 1 

Turn Him Out, 35 min 3 2 

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Two Ghosts in White, 20 min.. 8 

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Uncle Dick's Mistake, 20 min.. 3 2 

Wanted a Correspondent, 45 m. 4 4 

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Which Will He Marry? 20 min. 2 8 

Who Is Who? 40 min 3 2 

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Wrong Baby, 25 min 8 

Yankee Peddler, 1 hr 7 3 



VAUDEVILLE SKETCHES, IV^ON- 
OLOGUES. ETHIOPIAN PLAYS. 

M. F. 

Ax'in' Her Father, 25 min 2 3 

Booster Club of Blackville, 25 m.lO 
Breakfast Food for Two, 20m.. 1 1 

Cold Finish, 15 min 2 1 

Coon Creek Courtship, 15 min.. 1 1 
Coontown Thirteen Club, 25 m. 14 

Counterfeit Bills, 20 min 1 1 

Doings of a Dude, 20 min 2 1 

Dutch Cocktail, 20 min 2 

Five Minutes from Yell College, 

15 min 2 

For Reform, 20 min 4 

Fresh Timothy Hay, 20 min... 2 1 
Glickman, the Glazier, 25 min. . 1 1 
Handy Andy (Negro), 12 min.. 2 

Her Hero, 20 min 1 1 

Hey, Rube! 15 min.... 1 

Home Run, 15 min 1 1 

Hot Air, 25 min 2 1 

Jumb.o Jum, 30 min 4 3 

Little Red School House, 20 m. 4 

Love and Lather, 35 min 3 2 

Marriage and After, 10 min... 1 
Mischievous Nigger, 25 min... 4 2 

Mistaken Miss, 20 min 1 ,1 

Mr. and Mrs. Fido, 20 min 1 1 

Mr. Badger's Uppers, 40 min.. 4 2 
One Sweetheart for Two, 20 m. 2 
Oshkosh Next Week, 20 min.. 4 

Oyster Stew, 10 min. 2 

Pete Yansen's Gurl's Moder, 10 

min 1 

Pickles for Two, 15 min 2 

Pooh Bah of Peacetown, 35 min. 2 2 
Prof. Black's Funny graph, 15 m. 6 

Recruiting Office, 15 min 2 

Sham Doctor, 10 min 4 2 

Si and I, 15 min 1 

Special Sale, 1 5 min 2 

Stage Struck Darky, 10 min... 2 1 
Sunny Son of Italy, 15 min... 1 

Time Table, 20 min I 1 

Tramp and the Actress, 20 min. 1 1 
Troubled by Ghosts, 10 min... 4 
Troubles of Rozinski, 15 min.. 1 
Two Jay Detectives, 15 min... 3 

Umbrella Mender, 15 min 2 

Uncle Bill at the Vaudeville. 15 

min 1 

Uncle Jeff, 25 min 5 2 

Who Gits de Reward? 30 min.. 5 1 



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Recitations, dialog:ues, drills. 
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Easy pieces to speak, song:s. 
One Hundred Entertainments. 

New parlor diversions, socials. 
Patriotic Celebrations. 

Great variety of material. 
Pranks and Pastimes. 

Parlor g:ames for children. 
Shadow Pictures, Pantomimes, 

Charades, and how to prepare. 
Tableaux and Scenic Readings. 

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